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Arrangement for Woodwind Quartet (intermediate) by Francesco Leone. Set of parts (5): Flute, Oboe, Bb Clarinet and Bassoon, included Bb Bass Clarinet instead Bassoon (score available separately). Johann Baptist Strauss (25 October 1825 – 3 June 1899), also known as Johann Strauss II or Johann Strauss Jr., the Younger, the Son, was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely responsible for the popularity of the waltz in Vienna during the 19th century.
Arrangement for Woodwind Quartet (intermediate) by Francesco Leone. Score: Flute, Oboe, Bb Clarinet and Bassoon. Parts available separately. Johann Baptist Strauss (25 October 1825 – 3 June 1899), also known as Johann Strauss II or Johann Strauss Jr., the Younger, the Son, was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely responsible for the popularity of the waltz in Vienna during the 19th century.
Delight in the spirited charm of Johann Strauss II's 'Unter Donner und Blitz' (Thunder and Lightning Polka, Op. 324), artfully transcribed for Woodwind Quintet by Francesco Leone. This intermediate-level edition is meticulously crafted to cater to the unique blend of a woodwind ensemble, comprising Score and Parts (7) for Flute, Oboe, Bb Clarinet, French Horn in F, and Bassoon. Embracing versatility, this arrangement also includes alternative parts for Eb Horn and Bb Bass Clarinet, offering substitutions for the French Horn and Bassoon to accommodate diverse ensemble configurations and individual player strengths. This arrangement captures the vivacious energy and melodic brilliance of Strauss’s work, inviting musicians to explore the piece’s dynamic contrasts and intricate textures through the rich palette of woodwind timbres. Each part is thoughtfully arranged to highlight the instrument's unique qualities while contributing to a cohesive and engaging ensemble sound. Enhance your rehearsal and performance experience with an audio demo, available on www.glissato.it. This valuable resource provides a clear sonic reference that can help guide interpretation, tempo, and dynamics, ensuring a lively and authentic rendition of this classic polka. The edition is further enriched with informative prefaces in multiple languages, including English, French, German, Spanish, Italian, and Portuguese. These prefaces offer insights into the historical significance, compositional details, and performance practices of 'Unter Donner und Blitz,' making this eBook not just a piece of sheet music but a comprehensive educational tool. This multilingual support ensures that musicians and enthusiasts from around the globe can delve into Strauss’s masterpiece with a deeper understanding and appreciation. Embark on a musical journey with this enchanting arrangement of 'Unter Donner und Blitz' for Woodwind Quintet, where the legacy of Strauss’s exhilarating polka is reimagined for the expressive and diverse voices of woodwind instruments.
"Unter Donner und Blitz" (Thunder and Lightning Polka - op. 324) polka by J.Strauss II. Transcription for Clarinet Quintet / Choir by Francesco Leone (intermediate level). Score and Parts (7) : Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Clarinet 4 and Bb bass Clarinet, alternative parts included for Eb piccolo Clarinet (instead Clarinet 1) and Eb Alto Clarinet (instead Clarinet 4). Audio demo available on www.glissato.it -
Reverence for J. S. Bach's music and its towering presence in our cultural memory have long affected how people hear his works. In his own time, however, Bach stood as just another figure among a number of composers, many of them more popular with the music-loving public. Eschewing the great composer style of music history, Andrew Talle takes us on a journey that looks at how ordinary people made music in Bach's Germany. Talle focuses in particular on the culture of keyboard playing as lived in public and private. As he ranges through a wealth of documents, instruments, diaries, account ledgers, and works of art, Talle brings a fascinating cast of characters to life. These individuals--amateur and professional performers, patrons, instrument builders, and listeners--inhabited a lost world, and Talle's deft expertise teases out the diverse roles music played in their lives and in their relationships with one another. At the same time, his nuanced re-creation of keyboard playing's social milieu illuminates the era's reception of Bach's immortal works.
Offering comprehensive coverage of classical music, this guide surveys more than eleven thousand albums and presents biographies of five hundred composers and eight hundred performers, as well as twenty-three essays on forms, eras, and genres of classical music. Original.
Music, we are often told, is a language. But if music is a language, then who is speaking? The Composer's Voice tries to answer this obvious but infrequently raised question. In so doing, it puts forward a dramatistic theory of musical expression, based on the view that every composition is a symbolic utterance involving a fundamental act of impersonation. The voice we hear is not that of the composer himself, but of a persona--a musical projection of his consciousness that experiences and communicates the events of the composition. Developing his argument by reference to numerous examples ina wide variety of styles, Mr. Cone moves from song and opera through program music to absolute instrumental music. In particular, he discusses the implications of his theory for performance. According to the dramatistic view, not only every singer but every instrumentalist as well becomes a kind of actor, assuming a role that functions both autonomously and as a component of the total musical persona. In his analysis of the problems inherent in this dual nature of the performer's job, Mr. Cone offers guidance that will prove of practical value to every performing musician. He has much to say to the listener as well. He recommends an imaginative participation in the component roles of musical work, leading to a sense of identification with the persona itself, as the path to complete musical understanding. And this approach is shown to be relevant to a number of specialized kids of listening as well--those applicable to analysis, historical scholarship, and criticism. The dance, too, is shown to depend on similar concepts. Although The Composer's Voice involves an investigation of how music functions as a form of communication, it is not primarily concerned with determine, or interpreting, the "content" of the message. A final chapter, however, puts forward a tentative explanation of musical "meaning" based on an interpretation of the art as a coalescence of symbolic utterance and symbolic gesture. While not essential to the main lines of the argument, it suggests interesting possibilities for further development of the dramatistic theory. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.