Bestimmter Künstler

Rob McCuen's second book, the first one in 431 years, isn't pretty. It's a raw, unflinching, unadulterated, undeterred examination of the life of a fighter. It's the memoirs of a bipolar rock and roller.

Rob McCuen's third book is a collection of stories and lyrics about love, heartbreak, childhood aspirations, either realizing dreams or having those dreams crumble through your fingertips and then having to move forward when they do. The longtime musician's words smack you in the face, just like they did in his previous books.

Handel's Coronation Anthems were composed from September to October of 1727, only four years in his post as composer of music for the Chapel Royal. The occasion was the coronation of the new king, George II, on October 22, 1727. The performance featured the Chapel Royal vocal soloists, chorus and orchestra under the composer's direction in Westminster Abbey. The anthems soon became popular and were subsequently used for other ceremonial events. Handel's four anthems have been performed at every single English coronation since the 1727 premiere. My Heart is Inditing was the final one performed in 1727 (for the coronation of Queen Charlotte) and is likewise the final one in more recent coronations.Offered here is the beautifully engraved edition prepared by Dr. Clark McAlister for the now-defunct American publisher E.F. Kalmus in 1986. Along with reproducing the engraving in the highest quality, this new vocal score has been enlarged to the larger A4 format, which makes the chorus singer's job much easier when rehearsing and performing. Serenissima Music is proud to br the exclusive publisher for Clark McAlister's outstanding catalogue of superb orchestrations and authoritative editions.

The monograph concerns one of the most important trends in contemporary classical Polish music. The ¿new romanticism" represented the reaction to the crisis of the avant-garde in the 70s. It appeared in works by the ¿1933 generation" (Penderecki, Górecki, Kilar), ¿the Stalowa Wola generation" (Knapik, Lasö, Krzanowski), and others. This music matched tradition with contemporary techniques and strong emotionalism. Its romantic dimension and seriousness were in sheer contrast to the ¿double-coding" of Postmodernism. It stemmed from the political situation in Poland during the ¿Iron Curtain" times. The book also focuses on the topic's American (Schonberg, Rochberg) and European contexts. The author also analyzes 104 compositions and 30 interviews (incl. with Penderecki) to present an even fuller picture.

Son of Russian composer and pianist Alexander Skriabin, Julian drowned in the Dnieper River aged just eleven years old but he had already shown great promise as a young composer with these four preludes. Reminiscent of his father's late style, thepreludes exploit a freedom of tonality and rhythm of surprising depth and imagination and have become modern classics in their own right. ---Julian Skriabin, der Sohn des russischen Komponisten Alexander Skriabin, ertrank im Dnepr im Alter von nur elf Jahren, hatte aber schon vielversprechendes Talent als Komponist dieser vier Präludien gezeigt. Die Präludien, die an den späteren Stil seines Vaters erinnern, nutzen mit überraschender Tiefe und Einbildungskraft eine Freiheit in Tonalität und Rhythmus und sind dabei zu modernen eigenständigen Klassikern geworden.

Originally for piano, Chabrier's Habanera was arranged for orchestra by the composer for a concert he conducted in Angers on November 4, 1888. The piano version was also the first to be published (Enoch Frères et Costallat, 1885). The orchestral version, which is transposed up to D major, was not issued until 1889. The Habanera is a fine example of the Spanish genre which was so popular in the works of French composers in the 19th and early 20th centuries.Richard W. Sargeant's newly engraved is based upon the 1889 first edition score and parts, the composer's manuscript having vanished during the second world war. The study score offered here is a reduced format reproduction of thr large conductor score which is also available along with the orchestral parts from Serenissima Music.

"A mysterious hidden planet hovers above our universe." An effulgent leaf asteroid, fallen from a planet levitating above our own, helps Niraelie, an outcast young girl with strange, radiant, fiery eyes, reconnect with long-lost friends, leading to a magical, twisting ending.Emeradia is an interactive pedagogy storybook divided into six parts: storytelling, illustrations, original story music, education, main-character synopsis, and behind-the-scenes sketches. Readers are invited to experience the story alongside music uniquely composed to match the emotion and mood of each scene, much like background music in RPG video games and animated films.Sabrielle created this imaginative world to teach, inspire, and offer space for the mind to wander. Imagination can be a powerful way to escape reality, reduce stress, and support emotional well-being.Emeradia is only the beginning, a first glimpse into a larger universe built through story, sound, and wonder, inviting readers, viewers, musicians, and non-musicians alike to learn, feel, and explore through escapism.

Composed in 1923 in the USA the University of Michigan Library, Holst's eight-minute gem for solo flute, oboe and strings was given its first performance at the President's residence of the university by members of the Chicago Symphony under the baton of Frederick Stock on May 17 of that year. First publication followed soon afterwards by Novello in London. Offered here is a study score for the newly engraved critical edition based upon the composer's manuscript and first edition prepared by Richard W. Sargeant Jr. The large conductor's score and orchestra parts are likewise available from Serenissima Music, inc.

Originally planned for a celebration of his wedding to Constanze Weber, Mozart performed the several completed sections on October 26, 1783 in Salzburg - filling in with movements from earlier liturgical works. Later, the composer re-used several sections of this music in his 1785 oratorio Davidde Penitente with new words.Inspired by Süssmayr's completion of the Requiem, Georg Aloys Schmitt filled in missing sections with movements from earlier masses and fleshed out the orchestration from Mozart's sketches where needed. His reconstruction was given its premiere in April 1901 and promptly entered the choral repertoire. Despite several completions by others offered in more recent years, Schmitt's retains a significant following to this day. The study score offered here is a newly engraved edition prepared by Richard W. Sargeant, Jr. from the first edition full score - reprinted from a copyist's manuscript - issued by Breitkopf & Hartel in 1902. Its vastly improved layout and readability will be welcomed by students, conductors and aficionados of this fascinating torso left incomplete by Mozart. The large conductor's score and orchestral parts are likewise available from Serenissima Music.

Dieses Buch vereint drei in sich verschlungene Erzählungen, Arabesken, über deren Lebenskampfschilderungen das Lächeln innerer Befreiung schwebt. In der ersten Arabeske geht es um eine sieben Jahre dauernde Kinderliebe in schweren Nachkriegszeiten, die sich im Schutz eines großherzigen Vaters und seiner ebenso großherzigen jungen Frau oft auf einem Lindenbaum zwischen Zweigen und Blättern - und damit den gewöhnlichen Schrecknissen dieser Jahre zeitweilig enthoben - abspielt.In der zweiten als Pamphlet geschriebenen Arabeske finden sich die beiden als androgynes Ich des zum Mann herangewachsenen Jungen wieder, der als Künstler mit dem kunstfernen Bewusstsein seiner Zeitgenossen konfrontiert ist. Dabei unterscheidet sich sein Anderssein und der damit verbundene Lebenskampf grundlegend wenig von dem anderer an den Rand der Gesellschaft Verwiesenen.In der dritten Arabeske entfaltet sich am Beispiel einer schwer misshandelten und endlich geflohenen jungen Asiatin das Glück der Erlösung in einem fast matriarchal anmutenden Frauenverbund, zu dem wesentlich auch ein liebender Mann gehört.

Gustav Holst's 'Choral Fantasy on Old Carols' was composed in 1910, just two years before the similar work, Fantasia on Christmas Carols, by his good friend Ralph Vaughan Williams made its debut. It seems to have been composed for a Christmas concert given in London by Morley College, where the premiere likely took place. The carols employed - Good Christian Men Rejoice, God Rest You Merry Gentlemen, Come Ye Lofty, Come Ye Lowly, and The First Nowell - include a couple also found in the Vaughan Williams work. This newly engraved and researched edition by Richard W. Sargeant Jr. is based upon the composer's manuscript and the first edition vocal score and orchestral parts issued by Novello in the same year it was written. Holst's fantasy is shorter by about 5 minutes than the Vaughan Williams and offers a different view of the familiar carols. The full conductor's score and orchestral parts are also available from Serenissima Music.

Holst composed the Moorside Suite for the BBC and the National Brass Band Festival Committee for the final of the National Brass Band Championships of Great Britain at Crystal Palace in 1928. He was excited to be able to listen to all 15 performances of the competition, in which the Black Dyke Mills Band conduced by William Halliwell won. This was his only work for Brass band and its immediate popularity and success lead to other commissions for the genre. For the newly engraved score offered here, editor Richard W. Sargeant, Jr. has reorganized the traditional British brass band instrumentation for the symphonic brass ensemble found in most orchestras, with the additional flugelhorn and euphonium to retain something of the sound Holst heard at the 1928 premiere. The full score and instrumental parts for this new edition are also available for sale from Serenissma Music.

Holst's popular suite was named for the St. Paul's Girls' School of Hammersmith, London - where he was the music director from 1904 until his death thirty years later. Composed in 1912 as a token of gratitude for the installation of a sound-proof teaching studio, where Holst composed this and nearly all subsequent works. The four movement suite was also premiered at St. Paul's by the school orchestra under Holst's direction in the winter months of 1913. Not long after the premiere, the school purchased wind instruments, resulting in the addition of parts for flutes, oboe, clarinets and horn to the original string orchestra setting. The premiere date of this amended setting is unknown but the extra parts seem to have been added by 1920. Clark McAlister's new edition the setting with winds is based on the composer's manuscript, which differs in several respects from the string orchestra setting published in 1922. McAlister's score was first issued in 2006 by the now-defunct publisher E.F. Kalmus. Serenissima is proud to make this outstanding work available and is now the exclusive publisher for not only the study score offered here but the large score and orchestra parts.

Considered by many to be Holst's most beautiful choral work, Ode to Death was composed in 1919 as a tribute to friends who died in World War I. Using the poetry of Walt Whitman, who he considered a mystic new world prophet, Holst set the last section of "When Lilacs Last in the Dooryard Bloom'd" using open chords with the feeling of infinite space. This haunting classic is now available in a newly engraved and thoroughly researched vocal score by Richard W. Sargeant, Jr. The large score and orchestra parts are also available from Serenissima.

Whilst these records were being conceived, rehearsed, recorded and produced, Thom Yorke and Stanley Donwood made hundreds of images. These ranged from obsessive, insomniac scrawls in biro to six-foot-square painted canvases, from scissors-and-glue collages to immense digital landscapes. They utilised every medium they could find, from sticks and knives to the emerging digital technologies.<BR><BR>The work chronicles their obsessions at the time: minotaurs, genocide, maps, globalisation, monsters, pylons, dams, volcanoes, locusts, lightning, helicopters, Hiroshima, show homes and ring roads. What emerges is a deeply strange portrait of the years at the commencement of this century. A time that seems an age ago - but so much remains the same.

The lyrics to the songs of the Beatles read like poetry. This book treats them as such, and illustrates each track artistically, paying careful attention to detail and high design standards. The stories, themes and ideas behind nearly 200 songs are explored in this beautiful book that includes photographs, artwork and illustration to bring the Fab Four''s lyrics to life as never before.

Forty years, twenty solo albums, numerous musical collaborations -- this book contains the lyrics and poems to over 350 works by Scottish singer-songwriter Chris Connelly, with a foreword by Shirley Manson.

Dies ist das musikalisch-lyrische Lebenswerk des Komponisten und Musikers Abbas Schirmohammadi. Zum ersten Mal veröffentlicht er alle seine Songtexte in vier offiziellen Bänden. Die meisten seiner Lyrics sind Englisch, einige Deutsch. Vol. 1 bis 3 beinhalten Abbas Schirmohammadis Songtexte aus der Zeitspanne 1998 bis 2013. Vol. 4 bietet alle Lyrics, die zwischen 2014 und 2019 entstanden sind.

The Christmas King is a rhyming story of a little girl who throws a birthday party for baby Jesus. She invites all her favorite friends. They play games, bake a cake, and dress in costume as they learn about the meaning of Christmas.

The book is about a 9 year old girl first sleepover.