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Symphony No. 9 in D minor Op. 125 Facsimile Score

Symphony No. 9 in D minor Op. 125 Facsimile Score

With his ninth symphony, Beethoven ventured into new musical dimensions. In the final movement, soloists and choir join forces with the orchestra and Schiller’s “Ode to Joy” becomes a global aspiration, a declaration: “Alle Menschen werden Brüder ! / All mankind becomes brothers.”In his commentary the great Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, a renowned editor of Beethoven’s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer’s working process.,br>Already thelarge-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail.The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann who is the Director of the Music Department at the Staatsbibliothek zu Berlin traces this story.In 1972 the main theme of the last movement was chosen by the Council of Europe as the European anthem and in 1985 it was adopted by the European Community as its official anthem. In 2001 the manuscript was listed in UNESCO’s Memory of the World Register. For the first time the facsimile presents all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts.The first edition (2010) was awarded with the German Music Edition Prize “Best Edition” 2011. With his ninth symphony, Beethoven ventured into new musical dimensions. In the final movement, soloists and choir join forces with the orchestra and Schiller’s “Ode to Joy” becomes a global aspiration, a declaration: “Alle Menschen werden Brüder ! / All mankind becomes brothers.”In his commentary the great Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, a renowned editor of Beethoven’s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer’s working process.,br>Already thelarge-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail.The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann who is the Director of the Music Department at the Staatsbibliothek zu Berlin traces this story.In 1972 the main theme of the last movement was chosen by the Council of Europe as the European anthem and in 1985 it was adopted by the European Community as its official anthem. In 2001 the manuscript was listed in UNESCO’s Memory of the World Register. For the first time the facsimile presents all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts.The first edition (2010) was awarded with the German Music Edition Prize “Best Edition” 2011.

DKK 8153.00
1

Nux DM-8 el-trommesæt

Nux DM-8 el-trommesæt

NUX DM-8 er et avanceret elektronisk trommesæt designet til krævende trommeslagere, der ønsker den naturlige følelse af et akustisk sæt kombineret med den fleksibilitet og kontrol, som moderne teknologi tilbyder. Det er det perfekte valg til både hjemmeøvelse, studiearbejde og liveoptrædener. Højdepunkter 12" lilletromme med 3-zoners trigger (rimshot, cross-stick og center), monteret på separat stativ for naturlig opsætning og maksimal spillestyring Tre 10" tammer med justerbare Remo mesh-skinds og 2-zoners trigger for realistisk respons 10" stortromme med mesh-skind og kompatibilitet med dobbeltpedal To 12" crash-cymbaler med 2-zoners trigger og choke-funktion 14" ride-cymbal med 3-zoners trigger (bell, bow og edge) 12" hi-hat pad monteret på et standard hi-hat stativ med bevægelsessensor for realistisk åbning/lukning DM-8 Lydmodul 30 fabriksindstillinger med alsidige trommesæt tilpasset forskellige stilarter 7 fysiske mix-fadere til individuel styring af pads og cymbaler Bluetooth-funktionalitet til afspilning af baggrundsmusik direkte fra din enhed USB Audio/MIDI interface til optagelse i høj kvalitet (14 separate lydspor) og MIDI-brug i DAWs Indbyggede effekter som EQ, reverb, kompression og overdrive Mulighed for at importere egne WAV-filer via USB og tildele dem til valgfri pad Inkluderet Udstyr Stærkt 3-sidet rack med memory-lugs og forstærkede samlinger Dobbeltkædet stortrommepedal med bundplade Luksus hi-hat stativ og separat lilletrommestativ Tekniske Specifikationer 5 Remo mesh-pads og 4 cymbalpads Udvidelsesmuligheder med to ekstra trigger-indgange Ca. vægt inkl. stativ og emballage: 20 kg NUX DM-8 er skabt til den moderne trommeslager, der ikke vil gå på kompromis med hverken lydkvalitet, spillekomfort eller teknologisk fleksibilitet. Et komplet, professionelt og velafbalanceret elektronisk trommesæt med høj ydeevne og dyb tilpasning.

DKK 11995.00
1

Goldberg 2012

Goldberg 2012

The first time I heard Bach's Goldberg Variations was in the movie Silence of the lambs, in the early 1990s. I noticed the beautiful background music in one of the scenes, but at that time I didn't know what it was. A few years later, when I was studiying at the Grieg Academy, I got to know the entire piece. For me, this is a piece of music which I can listen to countless times. I think it sounds as fresh today as it did more than 15 years ago and it never ceases to inspire me. Both Bach's composition and Glenn Gould's famous 1955 recording (which was the first one I heard) still makes a great impression on me. Before Gould recorded it at age 22, it wasn't a highly ranked piece amongst pianists and Bach was by many viewed as a bit old-fashioned. The young Canadian turned all this around. He managed to portray Bach in a reformed way, producing fine nuances in phrasing and making the many layers in Bach's music more transparent than anyone before him. Thus he plunged both himself and Bach (back) onto the international music scene. When The Norwegian Band Federation (NMF) asked me to write the test piece for NM in 2012, it was only natural for me to use the Goldberg Variations as a starting point and inspiration for my work. Since I was a teenager at NMF's summer courses in the mid eighties I've always listened to many different styles of music. Growing up in Sunnmøre with the Brazz Brothers as teachers and mentors, jazz-, pop/rock- and folk music were early on a natural part of my musical background. I also have my classical education from the Grieg Academy on trumpet. As the title of my piece implies, I've wanted to bring Bach to the present and put his music into various modern musical landscapes. I think you can bring about a special kind of energy when music from different genres are mixed and I've tried to do this by mixing Bach with artists and musical styles from the present. In Goldberg 2012, the music is often constructed by several layers, which in a way are living parallel musical lives. They are seemingly moving or floating freely, almost unaware of each other, but bound together by the same basic pulse. The rythms, however, are often notated on a different rythmic subdivision level than the usual 8th- or 16th note levels. By doing this, I hope to achieve transparent sounds that rythmically are perceived as more free and detached from each other. In large sections of the piece, pop/jazz is fusioned with elements from Bach. I guess you could have this little scene as a synopsis for the piece: picture a group of musicians meeting: some are classical performers, some are jazz. They start to improvise together, each in their own voice or musical dialect and I'm sort of in the middle, trying to write down what they are playing. This is what I feel much of Goldberg 2012 is about. The foundation of the piece, in addition to Bach and references from pop/jazz music, lies also in my own material. This material, basically two chords, is heard in it's purest form in the 1st movement. I use these chords to create scales, new chords and different motifs which contribute to blend together the different moods of the piece. It has not been my intention to copy Bach's form (theme and 30 variations), but rather to use the bits and pieces that I like the most as an inspiration for my own variations. The 1st movement, Aria 2, is for my 3rd son, Olav, who was born on the 21st of April 2011, and the 5th movement, From long ago, is dedicated to the memory of my father, Svein J. Giske, who passed away on the 6th of June 2011. -Svein H. Giske, January 2012-

DKK 4018.00
1