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Igor Stravinsky: Les Noces (Study Score)

Igor Stravinsky: Les Noces (Study Score)

A sumptuous, paintakingly researched and fully authoritative edition of Stravinsky's 'Choreographic Scenes With Singing And Music' in large-format study score. Part of the Chester Stravinsky Edition series, this presentation of Les Noces is fully edited by Margarita Mazo, based upon relevant autograph and printed scores. The book includes a substantial analytical history of the work, examining the significance of the piece in the canon of the great Stravinsky scores. You will find a full choreographical assessment by Stephanie Jordan, alongside a detailed critical commentary by Mazo and associate editor Millan Sachania. A comprehensive bar-by-bar guide to the texts and transliteration is also included, making this a indispensable study score for the conductor, performer and scholar alike.

DKK 905.00
1

Optimist

Optimist

“Optimist” is one of the most well-known songs by Norwegian singer and composer Jahn Teigen. It was written for the Norwegian Eurovision in 1989. It did not win this competition, but is still one of the greatest Norwegian songs from the late 1980’s. This arrangement is very close to the original in form, rhythmic- and melodic lines. The repeat at bar 65 may be played as many times as one wish, or it can be omitted. “Optimist” is one of the most well-known songs by Norwegian singer and composer Jahn Teigen. It was written for the Norwegian Eurovision in 1989. It did not win this competition, but is still one of the greatest Norwegian songs from the late 1980’s. This arrangement is very close to the original in form, rhythmic- and melodic lines. The repeat at bar 65 may be played as many times as one wish, or it can be omitted.

DKK 994.00
1

Optimist

Optimist

“Optimist” is one of the most well-known songs by Norwegian singer and composer Jahn Teigen. It was written for the Norwegian Eurovision in 1989. It did not win this competition, but is still one of the greatest Norwegian songs from the late 1980’s. This arrangement is very close to the original in form, rhythmic- and melodic lines. The repeat at bar 65 may be played as many times as one wish, or it can be omitted. “Optimist” is one of the most well-known songs by Norwegian singer and composer Jahn Teigen. It was written for the Norwegian Eurovision in 1989. It did not win this competition, but is still one of the greatest Norwegian songs from the late 1980’s. This arrangement is very close to the original in form, rhythmic- and melodic lines. The repeat at bar 65 may be played as many times as one wish, or it can be omitted.

DKK 1089.00
1

Poul Ruders: Paganini Variations- Guitar Concerto No.2

Poul Ruders: Paganini Variations- Guitar Concerto No.2

Ruders writes: There's a solid tradition in the history of Western music of turning the theme of Nicolo Paganini's "24th Caprice" for soloviolin into a set of variations endemic to the time and style of each individual composer; Liszt, Brahms, Rachmaninov and Lutoslawsky being the most prominent names. When asked by David Starobin to write a concerto for him, I though "well, why not have a go at it?" - bearing in mind, that not only is Paganini the most celebrated violin-wizard of all times, but he was also a more than accomplished guitarist. There are 22 variations in all, numbers 1 to 16 all adhering strictly to the 16-bar pattern, laid down by Paganini himself. From variation 17 though, the writing becomes more symphonic and the rigid 16-bar regime is being lossendes up a bit. However, the last variation 'Finale Prestisimo' is a 6 x 16 bars "white-knuckle ride", in which the hitherto soloistic role of the guitar gives way to that of 'primus interpares', i.e. 'first among equals'. As with another set of variations of mine 'Concerto on Pieces' (based on a tune by Purcell), the nature and shape of the 'Pagannini-Variations' may be compared to a stroll through a hall of mirrors: the "portrait" - the theme is gradually being distorted out of all recognition - but it's still the same "original" walking by.

DKK 826.00
1

Tika Tika Walk

Tika Tika Walk

Tika Tika Walk, in Norway, is primarily known as the music accompany for the “Brelett” (a butter brand) advertisement. A catchy and carefree tune that we associate with cycling, sun and summer, cows and butter. The tune is taken from the French post-apocalyptic cannibal comedy Delicatessen (1991) and was written by French-Argentine composer Carlos d'Alessio. This was one of the last things he wrote before he passed away in 1992. A cheerful melody with a rather black background. The arrangement is done in a Latin style. If you add guiro to the instrumentation it will make the latin style even better. Drums can play what is written or do a Latin groove. Select a soloist or leteveryone play the solo part from bar 77.

DKK 779.00
1

Dublin Pictures

Dublin Pictures

Ireland is a multi-faceted country that has developed a popular and distinctive musical culture. The first movement of Dublin Pictures reflects Irish festivals where there is dancing and traditional beer flowing. More tranquil in its feel, the second movement illustrates the landscape that can be seen from the Ha’penny Bridge, a bridge that crosses the River Liffey in Dublin. This movement highlights the wide range of the orchestra’s sound colours as the musicians’ voices combine with the wind and percussion to accompany the soloist. The lively and joyful rhythms of the last movement take the listener to Temple Bar, the famous tourist quarter of the city, well knownfor its vibrant nightlife. The music’s energy and virtuosic motifs are in contrast to the previous movement and provide a spirited and festive finale.Marc Jeanbourquin wrote this piece in three movements for Azimuts Brass in 2011. He then arranged it for Concert, Fanfare or Brass Band

DKK 1421.00
1

Dublin Pictures

Dublin Pictures

Ireland is a multi-faceted country that has developed a popular and distinctive musical culture. The first movement of Dublin Pictures reflects Irish festivals where there is dancing and traditional beer flowing. More tranquil in its feel, the second movement illustrates the landscape that can be seen from the Ha’penny Bridge, a bridge that crosses the River Liffey in Dublin. This movement highlights the wide range of the orchestra’s sound colours as the musicians’ voices combine with the wind and percussion to accompany the soloist. The lively and joyful rhythms of the last movement take the listener to Temple Bar, the famous tourist quarter of the city, well knownfor its vibrant nightlife. The music’s energy and virtuosic motifs are in contrast to the previous movement and provide a spirited and festive finale.Marc Jeanbourquin wrote this piece in three movements for Azimuts Brass in 2011. He then arranged it for Concert, Fanfare or Brass Band

DKK 1421.00
1

Deep Field : Adapted for Wind Ensemble, Choir, and Smartphone App

Deep Field : Adapted for Wind Ensemble, Choir, and Smartphone App

GRAMMY® Award-winning American composer Eric Whitacre's symphonic work Deep Field was inspired by the world's most famous space observatory, the Hubble Space Telescope, and its greatest discovery, the iconic Deep Field image. The new film - Deep Field: The Impossible Magnitude of Our Universe - illuminates the score by combining Hubble's stunning imagery, including never-seen-before galaxy fly-bys, with bespoke animations to create an immersive, unforgettable journey from planet Earth to the furthest edges of our universe. The soundtrack features a new, epic Virtual Choir representing 120 countries: over 8,000 voices aged 4 to 87, alongside the Royal PhilharmonicOrchestra and Eric Whitacre Singers. The smartphone App playing the Deep Field electronica should be triggered by audience members from bar 217 to the end of the piece, as cued by the conductor. The app is free and must be downloaded in advance of the performance. It is available via the App Store and Google Play Store by searching Deep Field.

DKK 786.00
1

Lullaby of Birdland

Lullaby of Birdland

George Shearing wrote "Lullaby of Birdland" in 1952 for Morris Levy, the owner of the New York jazz club Birdland. Levy had got in touch with Shearing and explained that he'd started a regular Birdland-sponsored disk jockey show, and he wanted Shearing to record a theme which were "to be played on the start of every new hour" Levy originally wanted his own music to be recorded, but Shearing insisted he couldn't relate very well with it and wanted to compose his own music. They compromised by distributing the rights of the song: the composer's rights went to Shearing, and the publishing rights went to Levy. Shearing stated in his autobiography that he had composed "thewhole thing within ten minutes." Jean Constantin composed the lyrics to a French version, "Lola ou La légende du pays aux oiseaux". Musical characteristics "Lullaby of Birdland" is in thirty-two bar form, and its original key was F minor (or A major). This arrangement is lifted to G minor, for the chords not to become too dissonant in the deeper voices. The song spends an equal amount of time in both minor and major modes. It follows a I – vi – ii7 – V7 harmonic progression, and it has a I – viø7 – iiø7 – V7 minor variation.

DKK 779.00
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Poul Ruders: Paganini Variations - Piano Concerto No.3 (Score)

Poul Ruders: Paganini Variations - Piano Concerto No.3 (Score)

Paganini Variations - Piano Concerto No.3 (The original guitar-part arranged for piano and pianist Anne-Marie McDermott by the composer, 2014). Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini´s famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point of distraction - and the secret behind it being hauled through "the wringer" by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it´ll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn´t end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested "why not transcribe the solo part for piano?". The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it "the one-and-only", the "real thing", if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others´s equal. Poul Ruders  

DKK 787.00
1

Ostinati

Ostinati

It may be surprising to see a fanfare piece commissioned by a Japanese ensemble, since fanfare orchestras are typically found in Belgium, Holland and Luxembourg, and also France and Switzerland. Senzoku Gakuen is one of the largest and mostprestigious music universities in Japan, and home to a wide variety of ensembles and orchestras. Since 2006 they have had a fanfare orchestra, which was started by Sotaru Fukaishi, a euphonium teacher who felt further performance opportunity wasneeded for saxhorn instruments. Fukaishi had loved the sound of fanfare orchestras ever since visiting the World Music Contest in Kerkrade (Holland) several years earlier. Jan Van der Roost was involved with this new initiative from the beginning,and they were also joined by Manu Mellaerts for certain projects. The Dean of the music department, Professor Kazuo Tomioka, fully supports the ensemble and commissioned Ostinati. The première took place on June 11th at Maeda Hall inMizonokuchi (Kawasaki) where Senzoku Gakuen is based. The piece opens with an impressive timpani solo, followed by brass and saxophone. The rhythmical pulse remains constant and the music is fiery and assertive in character. A pentatonic melodygradually emerges and the music loses its vehemency and softens. The initial percussion ostinati subsequently recurs and the first section of the piece concludes in a similar mood to the opening. The second movement is sweet and melodic, opening witha long passage for the saxophone family in a minor key. The same theme then appears in the major and is developed upon; the music builds to a majestic orchestral forte, reminiscent of a pipe organ in its sonority. The theme returns in the originalminor key with a change in instrumentation leading the movement to a quiet and peaceful end on a soft E minor chord. The finale starts with percussion: a four-bar pattern is repeated several times over which the movement’s melodic themes areintroduced. These melodic elements are varied and used in different versions and the ostinato idea, which characterizes the entire piece, is highlighted. The theme travels through the orchestra, appearing on various instruments and in variousregisters. It captures the listener’s attention and displays the full range of sound and colour within the fanfare orchestra.

DKK 945.00
1