Vores kunder ligger øverst på Google

Pique Dame : Ouverture

Cum Vidisset Jesus : When Jesus had seen his Mother

A significant addition to the composer’s repertory of Latin motets, this is a setting of an antiphon on the Feast of the Seven Dolours of the Blessed Virgin Mary. It was commissioned in 2012 by Sacred Music at Notre Dame, University of Notre Dame, Indiana, USA. The text is based on verses from the Passion narrative in St John’s Gospel (translation: ‘When Jesus therefore had seen his Mother …’); the work is therefore especially suitable for services and concerts during Holy Week.

Der Besuch der alten Dame op. 35 : Oper in 3 acts

Der Besuch der alten Dame op. 35 : Opera in three acts

Study Score - Hawkes Pocket Score 882. Einem, G

Reifliches Divertimento op. 35a : Variationen über ein Thema aus dem III. Bild der Oper Der Besuch der alten Dame

Violin, Viola, Horn, Piano. Einem, G

Songs Volume 2 Meduim/Low Voice : 20 Romanzen

Continuing our tradition of publishing Russian music, we are proud to present two invaluable volumes of Tchaikovsky's songs. These have been specially compiled by the distinguished piano accompanist Roger Vignoles, who has created new and idiomatic English singing translations to help both performers and students.These can be used for performance, or as a means to understanding the Russian poetry.Original Cyrillic texts are included to help non-Russian speakers wishing to perform the songs in the original language, transliterations are provided in an Appendix.Each volume contains twenty songs - two superb selections, showing many varied facets of Tchaikovsky's writing - fromsorrow to happiness, love and comedy. Singers and pianists are sure to welcome these volumes, which will open the world of the Russian Romance to many non-Russian musicians.Roger Vignoles is one of the best-known of today's piano accompanists, partner to an impressive list of international singes, including: Elisabeth Soederstroem, Dame Kiri te Kanawa, Thomas Allen, Thomas Hampson, Sarah Walker, Brigitte Fassbaender, Elena Obraztosova, Kathleen Battle, Sylvia McNair and many others.An accomplished linguist and coach, he has given masterclasses for singers and their accompanists in Europe, Scandinavia, Canada, the USA, Australia and the Far East.

Lieder Band 1 : 20 Romanzen

Continuing our tradition of publishing Russian music, we are proud to present two invaluable volumes of Tchaikovsky's songs. These have been specially compiled by the distinguished piano accompanist Roger Vignoles, who has created new and idiomatic English singing translations to help both performers and students.These can be used for performance, or as a means to understanding the Russian poetry.Original Cyrillic texts are included to help non-Russian speakers wishing to perform the songs in the original language, transliterations are provided in an Appendix.Each volume contains twenty songs - two superb selections, showing many varied facets of Tchaikovsky's writing - fromsorrow to happiness, love and comedy. Singers and pianists are sure to welcome these volumes, which will open the world of the Russian Romance to many non-Russian musicians.Roger Vignoles is one of the best-known of today's piano accompanists, partner to an impressive list of international singes, including: Elisabeth Soederstroem, Dame Kiri te Kanawa, Thomas Allen, Thomas Hampson, Sarah Walker, Brigitte Fassbaender, Elena Obraztosova, Kathleen Battle, Sylvia McNair and many others.An accomplished linguist and coach, he has given masterclasses for singers and their accompanists in Europe, Scandinavia, Canada, the USA, Australia and the Far East.

Raise the Roof : for Timpani and Orchestra

Michael Daugherty about Raise the Roof:Raise the Roof is inspired by the construction of grand architectural wonders such as the Notre Dame Cathedral (1345) in Paris and the EmpireStateBuilding (1931) in New York City. I create a grand acoustic construction by bringing the timpani into the foreground and giving the timpanist the rare opportunity to play long expressive melodies, and a tour de force cadenza. I incorporate a wide variety of timpani performance techniques: extensive use of foot pedals for melodic tuning of the drums, placement of a cymbal upside down on the head of the lowest drum to play glissandi rolls, and striking the drums with regular mallets, wirebrushes, maraca sticks, and even bare hands.Raise the Roof is in the form of a double variation. The first theme of the double variation, played initially by the tuba, is presented in various timbral and rhythmic guises such as guaguanco. The second theme of the double variation, first heard in the flutes and then the timpani, is reminiscent of a medieval plainchant. The two themes are passed around in canons and fugues and other permutations throughout the ensemble to create elaborate patterns, as in a gothic cathedral. Raise the Roof rises toward a crescendo of urban polyrhythms and dynamic contrasts, allowing the timpani and the symphonic band to create a grand acoustic construction.

Raise the Roof

Michael Daugherty about Raise the Roof:Raise the Roof is inspired by the construction of grand architectural wonders such as the Notre Dame Cathedral (1345) in Paris and the EmpireStateBuilding (1931) in New York City. I create a grand acoustic construction by bringing the timpani into the foreground and giving the timpanist the rare opportunity to play long expressive melodies, and a tour de force cadenza. I incorporate a wide variety of timpani performance techniques: extensive use of foot pedals for melodic tuning of the drums, placement of a cymbal upside down on the head of the lowest drum to play glissandi rolls, and striking the drums with regular mallets, wirebrushes, maraca sticks, and even bare hands.Raise the Roof is in the form of a double variation. The first theme of the double variation, played initially by the tuba, is presented in various timbral and rhythmic guises such as guaguanco. The second theme of the double variation, first heard in the flutes and then the timpani, is reminiscent of a medieval plainchant. The two themes are passed around in canons and fugues and other permutations throughout the ensemble to create elaborate patterns, as in a gothic cathedral. Raise the Roof rises toward a crescendo of urban polyrhythms and dynamic contrasts, allowing the timpani and the symphonic band to create a grand acoustic construction.