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Tan Dun: The First Emperor (Libretto)

The Libretto for this opera in two acts, in English by Tan Dun and Ha Jin.First performed at the Metropolitan Opera at the Lincoln Center in New York City on 21st December 2006, conducted by the composer, with Placido Dominfgo in the title role.

Tan Dun: Eight Memories In Water Colour

This eight-movement suite was written by composer Tan Dun when he was a student in 1978-1979, about the time he left his home in Hunan to study at the conservatory in Beijing. He was homesick, and wrote this suite as a diary of his longing, while also being immersed in studying Western classical and modern music.

Tan Dun: Death And Fire (Full Score)

This work is perhaps best described by the composer Tan Dun: 'About five years ago I went to an exhibition on the works of painter Paul Klee at the Museum of Modern Art in New York. I was extremely moved and wanted to write a symphony. This became a discussion, a diologue between myself and Klee's painting, but not in any sense a musical description of any particular paintings. Although constructed of many small sections, my symphony is imagined as a complete, continuous work.'

Tan Dun Internet Symphony Eroica Concert Band Score/Parts

Originally commissioned by Google/YouTube for the inaugural YouTube Symphony Orchestra project, this edition represents Academy Award winner (Crouching Tiger, Hidden Dragon) and UNESCO Goodwill Ambassador Tan Dun 's first contribution for Wind Band. A four-and-a-half minute micro-symphony that combines multicultural influences, Beethoven's iconic theme from Eroica, some extended techniques for the brass players, and a collection of car parts for the percussion section! A work that is sure to excite and entertain your ensembles and audiences by one of the world's unique contemporary voices. Dur: 4:30 (Recorded by the Triangle Wind Ensemble - Dr. Evan Feldman, music director).

Tan Dun: Marco Polo (Libretto)

'Marco Polo' is an opera about journeys, and marks a further stage in the composer Tan Dun (now best known for his work on the film Crouching Tiger, Hidden Dragon)'s own journey - an exploration of a new language of music and performing arts through the fusion of Western avant-garde style with Eastern accent. The spiritual journey - the cycle of the spirit and of Nature - coexists with a physical journey from West to East. The former is explored in 'The Book of Timespace' through the participation of Shadows, Memory and Nature, in Peking opera style. Interwoven are the legendary adventures of Marco Polo as he makes his journey from Italy to China. These sections are written in a more Western opera style combining avant-garde and theatrical traditions, and are played out by Beings, although with underlying echoes of the simultaneous spiritual journey provided by historical figures of Dante, Shakespeare, and Li Po. Along with the geographical journey from West to East there is an important musical journey. Above the orchestra and chorus, there is a spicy ensemble of medieval European, Indian, Tibetan, and Chinese instruments which illustrate the changing scenes of the geographic journey. The fantasy-dream world of the spiritual journey and the exciting stories of Marco Polo's voyage are two operas that merge to the same goal, the discovery of experience from past to present to future - from the known to the unknown. This is the Schirmer edition of the Libretto in English only, with a libretto by Paul Griffiths.

Tan Dun Internet Symphony Eroica Concert Band Full Score Only

Originally commissioned by Google/YouTube for the inaugural YouTube Symphony Orchestra project, this edition represents Academy Award winner (Crouching Tiger, Hidden Dragon) and UNESCO Goodwill Ambassador Tan Dun 's first contribution for Wind Band. A four-and-a-half minute micro-symphony that combines multicultural influences, Beethoven's iconic theme from Eroica, some extended techniques for the brass players, and a collection of car parts for the percussion section! A work that is sure to excite and entertain your ensembles and audiences by one of the world's unique contemporary voices. Dur: 4:30.

...dun cahier desquisses

Look Wot I Dun: Don Powell - My Life In Slade

Look Wot I Dun: Don Powell - My Life In Slade is the story of Slade’s powerhouse drummer Don Powell whose life was shattered by a horrific car crash at the height of the glam rock group’s fame. Slade’s fame made Don Powell a star, but after a serious crash in 1973, even the most casual fan knew more about him than he could remember himself. Lucky to survive, the accident lead to alcoholism, financial woes and a life of reckless promiscuity. Powell did, however, return to being the rhythmic powerhouse behind Slade's catchy anthems until their split in 1991, before he moved on to other fascinating projects. Don Powell ’s friend, the Danish author Lise Lyng Falkenberg, has pieced together his fragmented life through interviews with the man himself, extracts from the famous diaries and insights from friends and colleagues like Gene Simmons, Francis Rossi, Andy Scott and Suzi Quatro to compile this in-depth and detailed insight into the man and the legend. Now sober, happily married and living in Denmark, Don Powell has survived his rise to the pinnacle of rock fame and fall to the depths of grief and amnesia. His intensely personal story is a unique document of his struggle to rediscover himself and rebuild his life after his stellar celebrity status suddenly turned into tragic loss and despair. Fans of Slade and hard rock in general will be continually intrigued and fascinated by the story of a musician's tragic accident, and his journey to rebuild his life. Plagued by amnesia, Don Powell  has praised author Lise Falkenberg for piecing his diaries together into a coherent narrative whose twists and turns are fitting for a life dominated by rises and falls.

Prelude a lApres-midi dun Faune

Prelude a lApres-midi dun Faune

Prelude a lapres-midi dun faune

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format, 25.5 cm x 32.5 cm.“Prélude A L’Aprés-Midi D’UnFaune”, often referred to as the first composition of the “modern” era, is one of Debussy’s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and severalimportant ones are drawn upon for the first time in Bärenreiter’s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which, however, contains many engravererrors.When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.Bärenreiter’s Urtext edition incorporates readings of a printed copy of the score from c. 1908 whichshows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which allsubtly enhance Debussy’s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Prelude a lapres-midi dun faune

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format, 25.5 cm x 32.5 cm.“Prélude A L’Aprés-Midi D’UnFaune”, often referred to as the first composition of the “modern” era, is one of Debussy’s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and severalimportant ones are drawn upon for the first time in Bärenreiter’s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which, however, contains many engravererrors.When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.Bärenreiter’s Urtext edition incorporates readings of a printed copy of the score from c. 1908 whichshows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which allsubtly enhance Debussy’s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Prelude a lapres-midi dun faune

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format, 25.5 cm x 32.5 cm.“Prélude A L’Aprés-Midi D’UnFaune”, often referred to as the first composition of the “modern” era, is one of Debussy’s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and severalimportant ones are drawn upon for the first time in Bärenreiter’s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which, however, contains many engravererrors.When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.Bärenreiter’s Urtext edition incorporates readings of a printed copy of the score from c. 1908 whichshows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which allsubtly enhance Debussy’s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Prelude a lapres-midi dun faune

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format, 25.5 cm x 32.5 cm.“Prélude A L’Aprés-Midi D’UnFaune”, often referred to as the first composition of the “modern” era, is one of Debussy’s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and severalimportant ones are drawn upon for the first time in Bärenreiter’s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which, however, contains many engravererrors.When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.Bärenreiter’s Urtext edition incorporates readings of a printed copy of the score from c. 1908 whichshows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which allsubtly enhance Debussy’s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Prelude a lApres-midi dun Faune

Tan Dun: In Distance (Score/Parts)

In Distance is so titled because of the wide 'distance' between each of the instruments (Piccolo, Harp and Bass Drum) in terms of register, timbre and dynamics. The music itself is also distant, in that it is very open and uses a great deal of space and silence. The piece was premiered on November 30th 1989.

Prelude a lApres-midi dun Faune

Prelude a lapres-midi dun faune

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format, 25.5 cm x 32.5 cm.“Prélude A L’Aprés-Midi D’UnFaune”, often referred to as the first composition of the “modern” era, is one of Debussy’s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and severalimportant ones are drawn upon for the first time in Bärenreiter’s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which, however, contains many engravererrors.When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.Bärenreiter’s Urtext edition incorporates readings of a printed copy of the score from c. 1908 whichshows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which allsubtly enhance Debussy’s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Prelude a lApres-midi dun Faune

Prélude à laprès-midi dun faune

Prelude a lApres-midi dun Faune

Prelude a lapres-midi dun faune

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format, 25.5 cm x 32.5 cm.“Prélude A L’Aprés-Midi D’UnFaune”, often referred to as the first composition of the “modern” era, is one of Debussy’s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and severalimportant ones are drawn upon for the first time in Bärenreiter’s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which, however, contains many engravererrors.When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.Bärenreiter’s Urtext edition incorporates readings of a printed copy of the score from c. 1908 whichshows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which allsubtly enhance Debussy’s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Two Frescos of Dun Huang : For Orchestra

Tan Dun: Eight Memories In Watercolor (Guitar Duet)

Manuel Barrueco created this arrangement for the Beijing Guitar Duo of the now famous solo Piano piece Eight Memories In Watercolor . Includes two performance scores.

Tan Dun: Elegy: Snow In June (Score and Parts)

Full score and complete set of parts for Tan Dun's Elegy: Snow in June a concerto for Cello and Percussion ensemble.