Symphony No. 5 (3rd Movement)

Le nouveau volume de la série à succès 'Get to Know Classical Masterpieces' présente l'une des oeuvres les plus connues de la musique classique, la Symphonie n o 5 op de Ludwig van Beethoven. 67, le soi-disant 'Destin Symphony'. Les principaux thèmes de la vaste symphonie ont été facilement arrangé pour le piano par Hans-Günter Heumann. Complétée par des textes explicatifs et illustrations colorées d'imagination, ce volume donne à tous les joueurs de piano l'occasion d'apprendre à connaître cette oeuvre orchestrale et d'expérimenter les états d'âme de la musique - éternel combat fatidique de l'homme de la souffrance et de salut, à l'arrêt de triomphe à la fin de la voie . / Piano

The tune 'Brother John ' or 'Bruder Martin' to Mahler's recognition is used in the third movement titled 'Funeral March in the Manner of Callot ' to create a sense of irony. The inspiration for this section was a woodprint from a book of fairy tales. The print depicts forest animals serving as pallbearers at a hunter's forest funeral. The question is not so much 'Are you sleeping (forever)?' as it is 'Are we mourning or celebrating?' The animals appear unsure whether to focus on the end of the hunter or the end of the hunt. Mahler sets the tune in a minor key to stress this irony as the music moves between merriness and brooding. The tune appears as a canon or round.

Niels Marthinsen's Symphony No. 2 - Snapshot Symphony (2009). 1st movement Fiesta Mexicana: fortissimo accelerando (ca. 6 minutes) 2nd movement Arabian Nights: adagio intensivo e furioso (ca. 11 minutes) 3rd movement Great Fireworks in China: giocoso esplosivo e marcatissimo (ca. 8 minutes)   Programme note I’ve never been to Mexico and Arabia or to China. But I love the way those countries sound in Hollywood movies and inpop culture generally: When Clint Eastwood rides south of the border when Disney’s Alladin or Mulan takes me far east when arabic pop music roars past me out of the open windows of a car... and bull fighter music and the sound of acrobatic beat-em-up’s in John Woo’s Hong Kong karate movies – and so on: powerful images splashed all over my eye balls and ear drums. My recollections of this ethnic-pop-film-music has turned itself into a symphony. And I don’t even have to just remember what I have heard: A few internet clicks gives me access to incredible sound libraries containing live-and-kicking ethnic music from my three favorite countries just waiting to be put together in new combinations and energize my personal imagery.  The symphony is like a huge slide show – musical snapshots from my travels in the western pop culture versions of three exotic locations: Mexico Arabia and China – original and popular melodies welded together by my personal musical language and associations. I use all the effects of modern pling-plong-music plus a few of my own inventions to create a spectacular contemporary orchestral sound sporting a bee hive of melodies from either East or West played simultaneously in different keys and differents tempos at once while kept firmly in place by

for Flute Choir. Par BRAHMS JOHANNES. The Symphony No. 2 of Johannes Brahms was composed in 1877, premiered in December of that year. The Allegretto grazioso (3rd movement), arranged here for flute choir, is reminiscent of the Slavonic Dances of Antonin Dvorak. The flute orchestra version is arranged for six C flute parts, two alto flutes, two bass flutes and a contrabass flute. Increasing the number of players in each section will give added depth to the full and rich sound of this arrangement. / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes

Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

Written as a symphony for unaccompanied voices George Lynn composed Sacred Symphony No. 1 in four movements (1958) of which Sing unto the Lord a New Song is the 3rd movement. Calling for SATB forces this work was commissioned by and dedicated to the Harding College A Capella Choir Kenneth Davis director. George Lynn conducted the Sacred Symphony premiere performance March 21 1959. For church high school community and college choirs. Medium difficulty.

Score-Roy Harris (1898-1979) was an American composer who often wrote on American subjects. His Ninth Symphony (1962) was dedicated to the city of Philadelphia and took inspiration from the Philadelphia Convention using phrases from the preamble to the U.S. Constitution as subtitles for each movement. Harris was a major force behind the creation of the home-grown American symphonic style that endures to this day. While he best remembered for his 3rd Symphony his later orchestral works provide perhaps even more reward for the listener. His Ninth reflects the perceived decline in morals among 20th Century America and as such is heavier and more angst-driven than many of his earlier works. While this is initially disconcerting it provides this piece with a unique character and sets it aside from and above its contemporaries.

Jordens Vej for SA Choir and Organ by Per Nørgård (1981). Text by Ole Sarvig. Manuscript copy. Programme note When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig: “The Year” and “Choral Hymn”. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals – which inspired me to write several choral and instrumental works in the following decade based onthese melodies: “Frost Psalm” “Winter Cantata” “Cantica” a.o.  One of these ‘Sarvig melodies’ is now in the Danish Hymnbook nr. 720 under the title 'Året'(The Year).  Jordens vej for choir and organ was the basis of the work Korsalme (1982) for mixed choir and instruments (ad lib.). Per Nørgård

A fine selection of some of the most famous orchestral works containing both sheet music and full audio on CD. Every piece in Orchestral Gold has been composed or specially arranged for easy Piano andis accompanied by high quality demonstration performances on a specially commissioned music CD.An essential addition to your Piano library.

Réédition de la collection Gold aujourd'hui devenue célèbre.

Ce volume contient 2 CD avec les titres complets pour piano. / Classique / Partition 2 CDs /

Per Nørgård's A Choral Hymn (On Frostbound Earth) from 1983 for Mixed Choir SATBB. Based on 'Choral Hymn' and a fragment of 'The Year'. Orig. version 'Choral Hymn': WH32008 for SATB Orig. DK version 'Korsalme': WH32007 Programme note When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig “The Year” and “Choral Hymn”. One of these was later included in the Danish Hymnbook under the title “Året – Som året går” (The Year).  Thesethree “Sarvig tunes” were derived from the same material as the second movement of the symphony and could be harmonized together in several different tempo relationships at the same time - like fractals. This inspired me to write several choral and instrumental works in the following decade based on these melodies for instance “Frost Psalm” “Winter Cantata” “Cycles” “Cantica” and this “A choral hymn (On frostbound earth) all coloured by the Nordic and mythic poem “The year” by Sarvig the beginning of which goes :  The passing year will pass its deep  So shall our mind reach winter´s sleep.  And as the tree stands leafles bare   Is winter´s realms: our minds aware.  - Ole Sarvig (translated by Helen and Ole Sarvig)  Per Nørgård  

Through Famous Pieces by Haydn Mozart and Beethoven. 15 famous melorides by composers in first Viennese school arranged for children. The purpuse of this book is NOT to study piano technique, but to touch the sound of each era through the historical masterpieces.

Special Arrangements for 2 Advanced Pianists. 10 brilliant arrangements of Rachmaninoff's piano concertos, vocalise and Paganini variation.

Par TCHAIKOVSKI PIOTR ILITCH. Retrouvez un collection des oeuvres essentielles de Pyotr Ilyich Tchaikovsky arrangées pour piano facile. / Niveau : Facile / Rép Classique / Répertoire / Piano