Format : Score and PartsLangue : Français
/ Exemplaire Complet / niveau : Or:2 / Partition
SKU: LM.PB1232
ISBN 3137990012328.
Aimer - Couleur menthe a l'eau - Elisa - Forteresse - Hijo de la luna - Il y a trop de gens qui t'aiment - La Banana - La Boheme - Ma preference - Marina - Petit bonhomme en mousse - Que reste-t-il de nos amours ? - Sous les ponts de Paris - Un Homme heureux - Une ile.
SKU: LM.27163
ISBN 9790230971638.
For a Blue Note - In the Emilie's Eyes - To Sing for Heaven - Michel Lives in USA - He Would like that - The End for Eddy - I'll be in the Show - Ballad for Jodie - I Prefer the Blue - You Miss Her - Ernie is Coming Back - Just for Babe - Modernesk - Romantic Tune - Ongobongo's Star.
SKU: LM.26850
ISBN 9790230968508.
In the Emilie's Eyes - For a blue note - You miss her - Ballad for Jodie - I prefer the Blue - To sing for heaven - He would like that - Michel lives in USA - Romantic tune - The End for Eddy - I'll be in the show - Ongobongo's star - Ernie is coming back - Modernesk - Just for Babe.
SKU: LM.28151
ISBN 9790230981514.
With Gab - Care-Free - Two stomp for you - Robert's tune - Around it - Goodbye Kate - One note for you - In the Emilie's eyes - For a blue note - As she like it - I prefer the blue - Ballad for Jodie - I'll be in the show - Leave me here - My friend Gabriell.
SKU: LM.26848
ISBN 9790230968485.
24 Hington Street - To Sing for Heaven - Virginia Stomp - Strange Blues - Michel Lives in USA - He Would Like that - The End for Eddy - I'll be in the show - This Blues is Good to you - Ballad for Jodie - I Prefer the Blue - Ernie is coming Back - So Far from you - It May be you - You Miss Her.
SKU: LM.26610
ISBN 9790230966108.
SKU: CF.CM9735
ISBN 9781491161159. UPC: 680160919741. Key: A minor. Latin, English. Christopher Smart and ZRS.
Origins of the Tarantella The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (little spider), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the poison, the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship. Origins of the Text Christopher Smart (1722-1771), also known as Kit Smart or Jack Smart, was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke's Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor's prison, was common during this period if one's debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [Rejoice in the Lamb] was set to music by English composer, Benjamin Britten.) Smart's writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart's Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance: theraphosa [teh-rah-fo-sa] a genus of tarantula spiders bellicose [beh-lee-ko-sah] hostile; aggressive odiosa [o-dee-o-sa] hateful; vexation tenebrosa [teh-neh-bro-sa] creeping; dark nemorosa [neh-mo-ro-sa] wooded; shady lapidosa [lah-pee-do-sa] stony area; gritty The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work. About the Composer Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. Performance Notes Text: In Latin, the r is flipped; use s instead of z on endings such as phosa, cosa, and so on; the Latin o is a cross between oh and aw; in the transliteration above, I chose to simply use an o for consistency. The director will blend the oh and aw in the rehearsals to his/her own preference. Lastly, tarantula is pronounced tah-rah-n-too-lah (avoid teh-ran-choo-luh) within the confines of this text. Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spider”), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,” the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart” or “Jack Smart,” was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lamb”] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. In Latin, the “r” is flipped; use “s” instead of “z” on endings such as “phosa,” “cosa,” and so on; the Latin “o” is a cross between “oh” and “aw”; in the transliteration above, I chose to simply use an “o” for consistency. The director will blend the “oh” and “aw” in the rehearsals to his/her own preference. Lastly, “tarantula” is pronounced “tah-rah-n-too-lah” (avoid “teh-ran-choo-luh”) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spider”), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,” the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart” or “Jack Smart,” was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lamb”] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico.In Latin, the “r” is flipped; use “s” instead of “z” on endings such as “phosa,” “cosa,” and so on; the Latin “o” is a cross between “oh” and “aw”; in the transliteration above, I chose to simply use an “o” for consistency. The director will blend the “oh” and “aw” in the rehearsals to his/her own preference. Lastly, “tarantula” is pronounced “tah-rah-n-too-lah” (avoid “teh-ran-choo-luh”) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
SKU: BA.BA10726-01
ISBN 9790006575596. 33 x 26 cm inches. Text Language: Italian. Preface: Pacholke, Michael.
In the brief half-year period from August 14, 1736, to January 27, 1737, Georg Friedrich Handel achieved an unprecedented level of productivity in his opera compositions, creating three operas. Additionally, in March 1737, he also composed a largely new oratorio titled ??Il trionfo del Tempo e della Verità? (??The Triumph of Time and Truth?) HWV 46b. The libretto of this oratorio closely corresponds to that of the oratorio ??La Bellezza ravveduta nel trionfo del Tempo e del Disinganno? (??Beauty Reconciled in the Triumph of Time and Enlightenment?) HWV 46a written in 1707. With ??La Bellezza ravveduta?, Handel composed an allegorical and particularly dramatic oratorio right at the beginning of his oratorio compositions. In this work, there is no chorus inclined towards reflection. Not only do the four allegorical figures, Bellezza (Beauty), Piacere (Pleasure), Tempo (Time), and Disinganno (Enlightenment), listen to each other and react to the ideas presented by the others, but this prevailing dramatic principle of dispute is also found in the recitatives.In 1737, when reworking the oratorio material as ??Il trionfo del Tempo e della Verità?, Handel approached the task pragmatically. He needed a new non-dramatic work to fulfill the evening??s program for his audience at the Covent Garden Theatre during the fasting season when theatrical performances were prohibited. Although he had excellent Italian vocal soloists, notorious for their pronunciation in Handel??s English oratorios and who naturally preferred singing in Italian, Handel found a solution. It was evident to Handel that, in response to the ban on performances of his Italian operas during the fasting season of 1737, he should promptly create a new oratorio in the Italian language but following the three-part ??English? oratorio form that he had developed in ??Esther? HWV 50b in 1732. Unlike in Rome in 1707, he had access to a chorus in London in 1737, and the English oratorio, with its substantial choral sections, a preference for concert-like rather than dramatic composition, and frequent inclusion of organ concertos loosely related to the narrative, was already established.The new volume of the HHA includes the original version of the 1737 premiere as well as all the surviving early and later versions (the latter being exceptional highlights) of individual musical pieces from ??Il trionfo del Tempo e della Verità?.
SKU: BT.PB1232
French.
Aimer - Couleur menthe l'eau - Elisa - Forteresse - Hijo de la luna - Il y a trop de gens qui t'aiment - La Banana - La Bohème - Ma préference - Marina - Petit bonhomme en mousse - Que reste-t-il de nos amours ? - Sous les ponts de Paris - Un Homme heureux - Une île.
SKU: HL.49017646
ISBN 9784890664689. 9.0x12.0x0.09 inches.
The required modern playing techniques of these two extremely virtuoso pieces make a colourful, differentiated tonal world with quickly changing musical incidents accessible to both the performer and the listener. They reflect the preference of Far Eastern music for nature-related imagery which is characteristic of Toshi Ichiyanagi's work too.Ichiyanagi's compositions include orchestral works, solo concertos, chamber music works and music for traditional Japanese instruments.