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Sunleif Rasmussen: Flow (Score)

Sunleif Rasmussen: Flow (Parts)

River of the Ancients

Musica Helvetica

Musica Helvetica

John Harle: The Saxophone

Daniel M. Thompson: Understanding Audio - 2nd Edition

Glenn Lorbecki: Power Tools for Pro Tools 10

100 Salmer - Nodebog spiralryg

100 Salmer - Nodebog spiralryg

Ny udgave med spiralryg, der kan ikke trykkes navn på denne udgave. Der er ved hver salme, angivet hvor mange vers der er i salmen. Teksten kan kun ses i dens fulde længde i en af salmebøgerne. Af de 791 salmer, der i 2003 kom med i den nye salmebog, er omkring 100 salmer af nyere dato (dvs. under 100 år gamle). Men både før – og ikke mindst efter – salmebogen udkom, er salmedigtningen i Danmark blomstret voldsomt op. De nye salmer er meget brugte og værdsatte. Ikke mindst letter de adgangen til sang og musik i kirken for dem, der ikke er velbevandrede i kirkens og salmedigtningens tradition, herunder børn og unge. Formålet med 100 salmer – et salmebogstillæg er således at skabe let adgang for kirker og menigheder til mange af de nye salmer, der allerede er i brug rundt omkring i landet. Udgivelsen er samtidig en støtte til salmefornyelsen ved at flere nye salmer i endnu højere grad finder vej til gudstjenester, kirkelige handlinger og folkelige forsamlinger. Redaktionsgruppen har indsamlet viden om, hvilke nye salmer der synges og er velfungerende som fællessange, men ikke findes i salmebogen. Kriterierne for optagelse i bogen har dertil været salmernes sproglige, teologiske og musiske kvalitet samt at salmerne tilsammen udgør en bredde, der afspejler den teologiske og folkelige bredde i Folkekirken. Redaktionsgruppen består af: Tine Lindhardt, biskop over Fyns Stift Kirsten Nielsen, prof. em. ved Teologisk Fakultet, AU. Forfatter til bogen Der flammer en ild om gudsbilleder i nyere, danske salmer Hans Dammeyer, organist i Skjoldhøj Kirke, komponist og med i redaktionsgruppen for den seneste udgave af Højskolesangbogen Søren Kinch Hansen, organist i Hjortshøj Kirke og tidl. dirigent for bl.a. Den jyske opera og Radiokoret Eva Holmegaard Larsen, sognepræst i Nødebo og Gadevang kirker  Ole Bjerglund Thomsen, sognepræst i Haslev. Tidligere formand i KFUM og KFUK Mads Djernes, organist og underviser i hymnologi, pastoralseminariet Aarhus Morten Skovsted, sognepræst i Hjortshøj-Egå (projektleder)   Omtale kan varmt anbefales til de menighedsråd, der har mod på at prøve kræfter med den nyere sangskat Anders Tranholm-Bjerg, Røsten (Kirken i Østjylland) Tillægget indeholder rigtig mange gode salmer, både sådanne, som allerede synges mange steder, og sådanne, som endnu er så nye, at de venter på at blive kendt og taget i brug. Organist.org Der er en frimodighed i sproget, der er en ligefremhed i teologien, der er en tilpasning i metaforerne, som i sig selv fortæller, hvorfor der er relevant at beskæftige sig med nyere salmer. Martin Bendixen Rønkilde, Præsteforeningens Blad   et anbefalelsesværdigt supplement, som fortjener stor udbredelse Julie Damlund, Dansk Kirketidende

DKK 500.00
1

Diferencias, Kopi

Diferencias, Kopi

Poul Ruders DIFERENCIASDIFERENCIAS was an old Spanish naming of musical compositions dealing with various techniques involving theme and variation. In modern Spanish it simply means differences. It?s a nice title, however, and as to the present piece, a very fitting one indeed, because I wrote it especially to The Elsinore Players for their South America-tour in 1981.Actually nothing happens to the clipping of wellknown Bach (the first four bars of the chorale: "jesu, Joy of Man?s Desiring", cantata No. 147), apart from the continuous changing of the succession-pattern of the 11 triplets and one duplet, the latter of which creates the recognizable 8/8 pattern amidst the flow of 9/8 "spinnrad-rolling". To put it popularly, I haven?t included anything that Bach does not have in the book himself.In addition to that, the unpredictable accents and various instrumental colours are the only means of "differences". There are no modulations, no tricky polyphony, nothing but a long, thoughtful tasting the beautiful piece of tune. Well, of course, the chorale itself enters the picture in the very last section, but that is merely for me to have the pleasure of tossing it away again before it comes to a proper end.Finally, I really do think, that the Cage/Morgan poem quoted below, is the most suitable prologue to DIFERENCIAS:14 variations on 14 wordsI have nothing to say and I am saying it and that is poetry. John CageI have to say poetry and is that nothing and I am saying itI am and I have poetry to say and is that nothing saying itI am nothing and I have poetry to say and that is saying itI that am saying poetry have nothing and it is I and to sayAnd I say that I am to have poetry and saying it is nothingI am poetry and nothing and saying it is to say that I haveTo have nothing is poetry and I am saying that and I say itPoetry is saying I have nothing and I am to say that and itSaying nothing I am poetry and I have to say that and it isIt is and I am and I have poetry saying say that to nothingIt is saying poetry to nothing and I say I have and am that Poetry is saying I have it and I am nothing and to say that And that nothing is poetry I am saying and I have to say itSaying poetry is nothing and to that I say I am and have itEdwin MorganPoul Ruders

DKK 544.00
1

Magnus Lindberg: Corrente No.2 (Score)

Magnus Lindberg: Corrente No.2 (Score)

Orchestral work commissioned by the BBC, and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis, The Barbican Hall, November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991 preceded by three works for different orchestral effectives (Kinetics, Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon an extended chaconne principle with chord chains cycling around, undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between a brick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of 1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players, as a study for the full orchestra version entitled Corrente II.In order to bring the harmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitches based on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions. The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a "narrative" sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass qualities expanded, the dramaturgy of the piece also changed. Corrente lasts for about 12 minutes whereas Corrente II spans over 20 minutes.Basically the original flow of Corrente is still present in the final version of this project. One could think of a landscape, viewed from different distances, approaching it and thus discovering new details or by moving apart from it and seeing it as part of a larger context.Orchestrally the piece is written for a standard formation with, except for timpani and vibraphone hardly any percussions.One particularity was to leave out the flutes from the orchestra. I don't have anything against the flutes, on the contrary, but by doing so the outline of the sound body became enforced as the top of the wind group was scored by either oboes or clarinets. Consequently I didn't include the tuba in the brass section, thus giving the bass trombone a stronger emphasis also marking this enforcement of the frames.

DKK 388.00
1