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Ungaresca and Almande Poussinghe (Pierre Phalèse Jnr, 1583) for Wind Instruments
Small Ensemble - Level 2 - Digital Download SKU: A0.522186 Composed by Unknown. Arr…
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Small Ensemble - Level 2 - Digital Download SKU: A0.522186 Composed by Unknown. Arranged by Colin Kirkpatrick. Christmas,Holiday,Renaissance. Score and parts. 27 pages. Colin Kirkpatrick Publications #6363609. Published by Colin Kirkpatrick Publications (A0.522186). These are two charming dances taken from a collection entitled Recueil de danseries, contenant presque toutes sortes de danses (“Collection of dances, containing almost all kinds of dancesâ€) published in Antwerp in 1583 by Pierre Phalèse Jnr (c.1545-1629). He was continuing the work of his father Pierre Phalèse the Elder (1510-1575) the most important publisher in the Low Countries during the 16th century and who published his First Book of Dances in Leuven in 1571. The Antwerp publication of 1583 contains about half the dances from the original 1571 edition, together with some new titles, making a total of about seventy numbers.The 1583 collection contains a large selection of gaillardes, almandes and bransles which were all popular courtly dances of the time. The lively and well-known piece entitled Ungaresca appears on page 24 of the original publication. The drone accompaniment that Phalèse provides suggests the sound of the peasant bagpipes. The name Ungaresca is a term used outside Hungary to denote a dance in the Hungarian style and this particular one probably first appeared in a 1578 dance collection for viol consort - Mainerio's Primo libro de balli. As a result, the music is sometimes attributed to Mainerio.In this arrangement, Ungaresca is paired with the delightful Almande Poussinghe which appears on page 16 of the original. This wonderful music of the 16th century still speaks to us today and this arrangement would be an ideal concert item, playable by virtually any combination of conventional wind instruments with optional percussion and keyboard parts. The optional keyboard part enables you to use the piece as a solo or duet and trio for mixed instruments. Some minor changes have been made to the inner parts to facilitate performance.This 4-part arrangement is presented in a single PDF file which includes the Full Score; Part 1 (C, B flat, E flat); Part 2 (C, B flat, E flat); Part 3 (C, F, B flat, E flat), Part 4 (C, B flat, E flat); Keyboard and Percussion. Most electronic keyboards have a harpsichord option. The score and set of parts come in a single PDF file.
$9.99
9.26 €
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Unknown
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Colin Kirkpatrick
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Part 1 (C, B flat, E flat)
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Ungaresca and Almande Poussinghe
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Colin Kirkpatrick Publications
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SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download Minor: Dominant and Subdominant Tri…
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Voice, recorder and percussion - Digital Download Minor: Dominant and Subdominant Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Orff- Schulwerk. Downloadable. Op. 5. Schott Music - Digital #Q49516. Published by Schott Music - Digital
English.<br> <br> Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided. it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fifth volume: Songs and pieces making further use of the modes introduced in Vol. 4, with the addition of the more usual forms of the minor scale with the sharpened seventh. The settings of short dramatic scenes concludes the book.
$21.99
20.38 €
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Timpani
Percussion Solo,Timpani - Level 4 - Digital Download SKU: A0.1018954 Composed by Be…
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Percussion Solo,Timpani - Level 4 - Digital Download SKU: A0.1018954 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078699. Published by Benjamin Sajo (A0.1018954). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.24 €
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Schiarazula Marazula & Ballo Anglese (1583)
String Ensemble - Level 2 - Digital Download SKU: A0.1039005 Composed by Pierre Pha…
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String Ensemble - Level 2 - Digital Download SKU: A0.1039005 Composed by Pierre Phalèse Jnr. Arranged by Colin Kirkpatrick. Renaissance. Score and parts. 17 pages. Colin Kirkpatrick Publications #644005. Published by Colin Kirkpatrick Publications (A0.1039005). These two dances are taken from a collection entitled Recueil de danseries, contenant presque toutes sortes de danses (“Collection of dances, containing almost every kind of danceâ€) published in Antwerp in 1583 by Pierre Phalèse Jnr (c.1545-1629). He was continuing the work of his father Pierre Phalèse the Elder (1510-1575) the most important publisher in the Low Countries during the 16th century. The piece known as Schiarazula Marazula appears towards the end of the collection and is rather a curious addition because it evokes the sound of street music rather than that of the court. However, it was an immensely popular dance during the 16th century and possibly written by Giorgio Mainerio, an Italian musician and composer. This music was meant for dancing and entertainment and musicians would often combine several dances to make a more substantial piece. In this arrangement, Schiarazula Marazula is paired with Ballo Anglese which appears near the beginning of the original publication. The music would have been played by any instruments that happened to be available. The dances still retain their freshness and charm today and are sure to be popular at any concerts, public recitals or end-of-semester events. This arrangement is for virtually any string ensemble and the single PDF file includes a full score and parts for violin 1, violin 2, viola (violin 3), cello and bass (combined), keyboard and simple percussion. Two additional melody part are provided in the treble and bass clefs and the chords (for optional guitar) are shown in both keyboard and cello-bass parts. In the spirit of the original publication, you can add to the melody line any other C-pitch instruments that happen to be available. Even the additional of a couple of recorders will enhance the sound. Alternatively, you can do opposite and create a pleasing contrast by omitting various instruments for certain sections. The audio demo will give you an idea how this might be achieved. The keyboard part is intended as a guide and when possible, the keyboard player should feel free to improvise around the part and the chords shown. A digital or acoustic harpsichord sounds more authentic than a piano. Most electronic keyboards have a harpsichord option. The optional percussion instruments used are similar to those found in elementary school music rooms and usually include a tambour or hand-held drum, antique (finger) cymbals, wood-blocks and tambourine. Two or three players can be used (but feel free to add more) and the parts can be interpreted quite freely. Dance music is intended to be fun, and we hope that this arrangement brings you just that.
$8.99
8.33 €
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Pierre Phalèse Jnr
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Colin Kirkpatrick
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Schiarazula Marazula & Ballo Anglese
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Colin Kirkpatrick Publications
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SheetMusicPlus
Memento vivere · Kythere
Mixed choir a cappella with bass-solo - advanced - Digital Download SKU: S9.Q20789 …
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Mixed choir a cappella with bass-solo - advanced - Digital Download SKU: S9.Q20789 Zwei Gesänge nach Texten von Friedrich Hebbel und Gerda von Robertus. Composed by Rudi Stephan. Arranged by Clytus Gottwald. This edition: choral score. Schott Chamber Choir. Downloadable, Choral score. Duration 7 minutes. Schott Music - Digital #Q20789. Published by Schott Music - Digital (S9.Q20789). German.He was regarded as the German hope among the composers of his generation and as 'next man of New Music', but his early death quashed all such hopes of the music scene: Rudi Stephan died at the early age of 28, leaving behind instrumental works as well as some songs in which he admitted expressionist concepts of art, as were later expressed mainly by the Viennese School. Clytus Gottwald has taken up the cause of transcribing two of the songs by this composer, who died in the First World War, for nine-part mixed a cappella choir (SSAATTBBB) with solo bass in his honour. In spite of the Latin title, Memento vivere is a German-language secular song based on a text by Friedrich Hebbel which is permeated by harmonies sharpened with dissonances. The music of Kythere to words by Gerda von Robertus is characterized by the excessive use of harmonic shifts in the style of Debussy.
$7.99
7.41 €
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Rudi Stephan
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Clytus Gottwald
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Memento vivere · Kythere
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Schott Music - Digital
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SheetMusicPlus
No other people
3(3.afl).2.ca.2.bcl.3-4.3.3.1-str orchestra - Digital Download SKU: S9.Q41782 Fo…
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3(3.afl).2.ca.2.bcl.3-4.3.3.1-str orchestra - Digital Download SKU: S9.Q41782 For orchestra. Composed by Gerald Barry. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 12 minutes. Schott Music - Digital #Q41782. Published by Schott Music - Digital (S9.Q41782). The title, No other people., is taken from Raymond Roussel's New Impressions of Africa, a fifty-nine page poem which took him fifteen years to write - a length of time mainly caused by his tortuous compositional methods.In Roussel, sentences are broken down in maze-like ways, often producing others which relate to the sound of the original.I'm not aware of any direct, illustrative connection between the music of No other people. and Roussel's book. But I was very struck by the everydayness of Zo's drawings.There is something poignant in his not knowing what he was illustrating. Like the drawings of a blind person. Their banality takes on a mysteriousness by being placed by Roussel in his book, seeming to illustrate bizarre events unknown to Zo.They are impersonal, the people in them unaware that they lead another life in a poem of which they know nothing.Something of this is in the music.Gerald Barry, 2009.
$16.99
15.75 €
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Gerald Barry
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No other people
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Schott Music - Digital
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SheetMusicPlus
And Can it Be - Sagina
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 1 - Digital Download SKU: A0.1386967 By Kevin P Holdgate. By Thomas Campbell & Charles Wesley. Arranged by Kevin P Holdgate. 19th Century,Christian,Praise & Worship,Religious,Sacred. Brass Band. 21 pages. Kevin P Holdgate #970852. Published by Kevin P Holdgate (A0.1386967). And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley in 1738 to celebrate his conversion, which he regarded as having taken place on 21 May of that year. The hymn celebrates personal salvation through the death and resurrection of Jesus, and is one of the most popular Methodist hymns today.Charles Wesley (1707–1788), along with his brother John Wesley, was one of the founding figures of Methodism. Like his brother, he was profoundly influenced by a religious conversion. Charles's experience took place on 21 May 1738 (the feast of Pentecost), and it inspired him to write two new hymns, And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin?. After this, Charles went on to become a prolific hymnodist, composing over 6,500 hymns.The original six-verse hymn And Can It Be? was first published in 1739 in John Wesley's hymnal, Hymns and Sacred Poems, with the title Free Grace.The hymn remains popular today and is included in many contemporary hymn books. In 2013, following a survey conducted by the BBC Television programme Songs of Praise, And Can It Be? was voted number 6 in the UK's Top 100 Hymns.
$12.99
12.04 €
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Kevin P Holdgate
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Kevin P Holdgate
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And Can it Be - Sagina
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Kevin P Holdgate
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SheetMusicPlus
Der fliegende Holländer
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 4 · 2 · 3 · 1 - P. - Str. …
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 4 · 2 · 3 · 1 - P. - Str. Auf dem Theater: 3 Picc. · 6 Hr. · Tamt. · Windschleuder - Digital Download SKU: S9.Q25918 Romantische Oper in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q25918. Published by Schott Music - Digital (S9.Q25918). German.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (1842-1880 version) This piano reduction is based on the edition of Der fliegende Holländer from the Critical Complete Edition of Richard Wagner’s works (Richard Wagner, Sämtliche Werke [Collected works], Vol. 4, III-VI, edited by Egon Voss, Mainz, 2000f.) The primary source for this edition was the first print of the score dating from 1845 which had however been augmented utilising the sources of additions undertaken after 1845, meaning that this edition is actually a compilation of the final versions of all individual sections or relevant details. The overture for example dates back to 1860 whereas No. 1 appears in the version from 1864. What is however most significant is that the versions from the Collected Editions based on new sources is without doubt closer to the original than the score from 1897 edited by Felix Weingartner which had previously formed the basis for all editions and logically also for all performances.†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).
$47.99
44.48 €
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Richard Wagner
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Der fliegende Holländer
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Schott Music - Digital
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SheetMusicPlus
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