Hand in Hand mit dir

Hand in Hand mit dir

Momentum

The Latin word Momentum has come to mean many different things in our language: a short period of time, a force, or a speed of movement. In our current times of around-the-clock high speed and energy, the composer wanted to write a reflective and meditative piece that focuses on the moment at hand. The Latin word Momentum has come to mean many different things in our language: a short period of time, a force, or a speed of movement. In our current times of around-the-clock high speed and energy, the composer wanted to write a reflective and meditative piece that focuses on the moment at hand.

Tastenzauberei Sing- und Spielheft Band 1

Hör gut zu!KuckucksrufHundetanzGeri und FerdinandDraculas WackelzahnAlle meine EntchenPiratentanzBacke, backe, KuchenC-RapDino und HaseKurzgeschichteLiebe FreundeVerrückte FreundeLinke Hand, rechte HandOzeanBallonfahrtLangeweileRitter ohne SchwertIch mag MusikFußballspielenDie Räder am BusIntervalleIch lieb´ den FrühlingEs war eine MutterGrün, grün, grünZauberspiegelDer PapageiQuinten spielenHängematteTastentrainingAbschiedUrlaub am MeerViel GlückKopf und SchulterAlle Kinder lernen lesenZauberklangDer Flügel auf dem HügelNotensalat

Landscapes : Concerto Grosso for Brass Band and Percussion

Landscapes is a work structured around two main ideas. On the one hand, the music freely paints some of the superb landscapes I’ve seen during several of my trips around the world. Listeners should, however, not be influenced by this programmatic framework and are encouraged to build their own ‘mind pictures’.On the other hand, Landscapes constitutes a test piece for each section of the brass band. Indeed, each musical landscape highlights a particular register. A small group of soloists is given the opportunity to fully display its skills in dialogue with the rest of the band (the tutti), hence the name ‘concerto grosso’. Landscapes also relies on the band’s different soloistmusicians when it comes to express highly complex, musically and technically challenging passages.

Landscapes : Concerto Grosso for Brass Band and Percussion

Landscapes is a work structured around two main ideas. On the one hand, the music freely paints some of the superb landscapes I’ve seen during several of my trips around the world. Listeners should, however, not be influenced by this programmatic framework and are encouraged to build their own ‘mind pictures’.On the other hand, Landscapes constitutes a test piece for each section of the brass band. Indeed, each musical landscape highlights a particular register. A small group of soloists is given the opportunity to fully display its skills in dialogue with the rest of the band (the tutti), hence the name ‘concerto grosso’. Landscapes also relies on the band’s different soloistmusicians when it comes to express highly complex, musically and technically challenging passages.

Momentum

The Latin word Momentum has come to mean many different things in our language: a short period of time, a force, or a speed of movement. In our current times of around-the-clock high speed and energy, the composer wanted to write a reflective and meditative piece that focuses on the moment at hand.

Momentum

The Latin word Momentum has come to mean many different things in our language: a short period of time, a force, or a speed of movement. In our current times of around-the-clock high speed and energy, the composer wanted to write a refl ective and meditative piece that focuses on the moment at hand. An ideal point of rest for your concert programme!

Momentum

The Latin word Momentum has come to mean many different things in our language: a short period of time, a force, or a speed of movement. In our current times of around-the-clock high speed and energy, the composer wanted to write a refl ective and meditative piece that focuses on the moment at hand. An ideal point of rest for your concert programme!

The White Tower

The year is 1798 and thieves, robbers, and bandits prowl the countryside, wreaking havoc wherever they go and more often than not escaping without so much as a scratch. This was, however, not the case with a supposedly well-planned assault on the German town of Daaden, during which 20 long sought-after crooks from Germany, France, and Holland where captured. Otto M. Schwarz’ exciting musical montage lets people experience the planning, assault, and attempted retreat first hand!

The White Tower

The year is 1798 and thieves, robbers, and bandits prowl the countryside, wreaking havoc wherever they go and more often than not escaping without so much as a scratch. This was, however, not the case with a supposedly well-planned assault on the German town of Daaden, during which 20 long sought-after crooks from Germany, France, and Holland where captured. Otto M. Schwarz’ exciting musical montage lets people experience the planning, assault, and attempted retreat first hand!

The White Tower

The year is 1798 and thieves, robbers, and bandits prowl the countryside, wreaking havoc wherever they go and more often than not escaping without so much as a scratch. This was, however, not the case with a supposedly well-planned assault on the German town of Daaden, during which 20 long sought-after crooks from Germany, France, and Holland where captured. Otto M. Schwarz’ exciting musical montage lets people experience the planning, assault, and attempted retreat first hand!

The White Tower

The year is 1798 and thieves, robbers, and bandits prowl the countryside, wreaking havoc wherever they go and more often than not escaping without so much as a scratch. This was, however, not the case with a supposedly well-planned assault on the German town of Daaden, during which 20 long sought-after crooks from Germany, France, and Holland where captured. Otto M. Schwarz’ exciting musical montage lets people experience the planning, assault, and attempted retreat first hand!

The Knight's Castle

Gerald Oswald’s new composition, The Knight’s Castle, takes listeners on a journey to the middle ages and introduces its inhabitants. After hearing the majestic introduction, a knight is seen riding towards the castle on his way to court the lovely princess residing there. The old ghost inhabiting the castle watches this romance blossom with great sadness. Only the castle and its ghost know how this story will end. The audience, on the other hand, will have to use their imaginations…

The Knight's Castle

Gerald Oswald’s new composition, The Knight’s Castle, takes listeners on a journey to the middle ages and introduces its inhabitants. After hearing the majestic introduction, a knight is seen riding towards the castle on his way to court the lovely princess residing there. The old ghost inhabiting the castle watches this romance blossom with great sadness. Only the castle and its ghost know how this story will end. The audience, on the other hand, will have to use their imaginations…

Preludio all' atto II : dall' opera 'Un Ballo in Maschera'

For the first draft of the libretto of Un ballo in maschera (1859), Giuseppe Verdi drew his inspiration from the grand-opéra Gustave III by Auber, an opera performed for the first time in Paris in 1833 that depicted the assassination of the King of Sweden. However, censorship, first in Naples and then in Rome, intervened and imposed heavy modifications. Perhaps because it was too demanding, Verdi showed no intransigence with the requests coming from Naples and refused to alter the libretto. On the other hand, he yielded to the requests of the Roman authorities and agreed to change the site of the action and the identity of the protagonists. Consequently, the scene movedfrom Stockholm to Boston and King Gustav became the Count of Warwick, Governor of Massachusetts.The prelude to the second act is very short and introduces the scene at the place where the scaffold stands. In only a few measures, Verdi skillfully succeeds in condensing the interior restlessness of the protagonists, alongside a prayer of hope.

Preludio all' atto II : dall' opera 'Un Ballo in Maschera'

For the first draft of the libretto of Un ballo in maschera (1859), Giuseppe Verdi drew his inspiration from the grand-opéra Gustave III by Auber, an opera performed for the first time in Paris in 1833 that depicted the assassination of the King of Sweden. However, censorship, first in Naples and then in Rome, intervened and imposed heavy modifications. Perhaps because it was too demanding, Verdi showed no intransigence with the requests coming from Naples and refused to alter the libretto. On the other hand, he yielded to the requests of the Roman authorities and agreed to change the site of the action and the identity of the protagonists. Consequently, the scene movedfrom Stockholm to Boston and King Gustav became the Count of Warwick, Governor of Massachusetts.The prelude to the second act is very short and introduces the scene at the place where the scaffold stands. In only a few measures, Verdi skillfully succeeds in condensing the interior restlessness of the protagonists, alongside a prayer of hope.