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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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1917: The Halifax Disaster
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.1008264 Composed by William Brenn…
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Concert Band - Level 4 - Digital Download SKU: A0.1008264 Composed by William Brenner. Contemporary. Score and parts. 80 pages. William Brenner #5370501. Published by William Brenner (A0.1008264). Halifax was devastated on 6 December 1917 when two ships collided in the city's harbour, one of them a munitions ship loaded with explosives bound for the battlefields of the First World War. What followed was one of the largest human-made explosions prior to the detonation of the first atomic bombs in 1945.(...)In early December, one of the merchant ships in port was the large, Norwegian vessel Imo, en route from Halifax to New York to pick up relief supplies (...) Another was the French munitions ship Mont-Blanc - filled with tons of benzol, the high explosive picric acid, TNT and gun cotton - arriving in Halifax to join a convoy across the ocean.(...)The Imo was departing the harbour on the morning of 6 December 1917 (...) Imo had an experienced, local harbour pilot on board, William Hayes, who knew the navigation rules of the harbour. However, earlier encounters that morning with two inbound vessels moving towards Bedford Basin - both of which Imo had passed starboard-to-starboard - resulted in the unusual position that Imo now occupied, too far to the east (...) The Mont-Blanc had arrived outside Halifax the previous day and anchored overnight at the mouth of the harbour. On the morning of 6 December, the ship was cleared by harbour authorities to proceed toward Bedford Basin. Despite the Mont-Blanc's dangerous cargo, there was no special protocol for the passage of munitions ships in the harbour. Other ships such as the Imo were not ordered to hold their positions that morning until the Mont-Blanc had made safe passage through the port. Francis Mackey, Mont-Blanc's pilot, was guiding the ship inbound on the Dartmouth-side of the Narrows, when he encountered the Imo heading straight towards him in what he believed was Mont-Blanc's lane. Mackey would later maintain that the Imo was moving at an unsafe speed for such a large, unwieldly ship in the harbour, and also that incoming ships (in this case Mont-Blanc) had the right-of-way over outgoing vessels. Regardless of the accuracy of those claims, what is certain is that the Imo was sailing too far to the east, in what should have been Mont-Blanc's path.After a series of whistles and miscommunications between the officers and pilots on the two ships, and failed manoeuvres to avoid a collision, the Imo struck the starboard bow of the Mont-Blanc. After a few moments the two ships parted, leaving a gash in Mont-Blanc's hull and generating sparks that ignited volatile grains of dry picric acid, stored below its decks. (...) The Mont-Blanc exploded at 9:04:35 a.m., sending out a shock wave in all directions, followed by a tsunami that washed violently over the Halifax and Dartmouth shores. More than 2.5 square km of Richmond were totally levelled, either by the blast, the tsunami, or the structure fires caused when buildings collapsed inward on lanterns, stoves and furnaces.Homes, offices, churches, factories, vessels (including the Mont-Blanc), the railway station and freight yards - and hundreds of people in the immediate area - were obliterated. (...) Across Halifax, there were miraculous stories of survival. And equally, stories of tragedy. Many children were killed on their walk to school that morning, or blinded by flying glass. Those that survived the blast stumbled home, only to find their houses shattered, or their parents dead or wounded, among the wreckage. (...) Every year on 6 December, people gather above the Narrows to hear the ringing of the memorial's carillon bells, and to remember the victims of the disaster. www.thecanadianencyclopedia.ca/en/article/halifax-explosion
$22.99
21.18 €
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Orchestre d'harmonie
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William Brenner
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1917: The Halifax Disaster
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William Brenner
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SheetMusicPlus
The Man Behind the Gun
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0…
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Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1285482 Composed by John Philip Sousa. Arranged by Matthew Nunes. 19th Century,Chamber,Historic,March,Patriotic. 22 pages. Matthew Nunes Music #876587. Published by Matthew Nunes Music (A0.1285482). The Spanish War had a profound effect on Sousa, as did military life, evidenced in his march titles. Sousa is quoted as saying “A composition in march tempo must have the military instinct, and that is one reason why so few of the great composers have written successful marches. They lived in an atmosphere of peace. The roll of musketry had no meaning for them, so that quality is entirely absent from their work. The Spanish War was an inspiration to me. “The Man Behind the Gun†was a musical echo of it.â€Â This Brass Quintet arrangement was made using “The President’s Own†United States Marine Band’s The Complete Marches of John Philip Sousa score as found at https://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of-John-Philip-Sousa/. The Man Behind the Gun was composed in 1899, and the referenced edition was made Public Domain in 2018. The piece is catalogued as Volume 4, No. 57.Section titles (such as “First Strain†and “Trioâ€) follow the measure numbers provided by that edition. Each instrument follows its full-band part as often as possible, the only exception being Trombone covering the Euphonium/Baritone part. Because of this, Euphonium/Baritone would make a suitable substitute.
$1.99
1.83 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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John Philip Sousa
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Matthew Nunes
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The Man Behind the Gun
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Matthew Nunes Music
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Violoncello
Violoncelle (partie séparée)
Cello Solo - Level 4 - Digital Download SKU: A0.1018958 Composed by Benjamin Harry …
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Cello Solo - Level 4 - Digital Download SKU: A0.1018958 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6078715. Published by Benjamin Sajo (A0.1018958). 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
3.22 €
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Violoncelle (partie séparée)
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Oboe 2
Hautbois (partie séparée)
Oboe Solo - Level 3 - Digital Download SKU: A0.1018945 Composed by Benjamin Harry S…
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Oboe Solo - Level 3 - Digital Download SKU: A0.1018945 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078673. Published by Benjamin Sajo (A0.1018945). 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
3.22 €
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Hautbois (partie séparée)
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Oboe 1
Hautbois (partie séparée)
Oboe Solo - Level 4 - Digital Download SKU: A0.1018944 Composed by Benjamin Harry S…
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Oboe Solo - Level 4 - Digital Download SKU: A0.1018944 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078671. Published by Benjamin Sajo (A0.1018944). 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
3.22 €
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Hautbois (partie séparée)
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Viola
Alto (partie séparée)
Viola Solo - Level 4 - Digital Download SKU: A0.1018957 Composed by Benjamin Harry …
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Viola Solo - Level 4 - Digital Download SKU: A0.1018957 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6078711. Published by Benjamin Sajo (A0.1018957). 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
3.22 €
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Alto (partie séparée)
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Top Gun: Maverick Anthem
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1093415 Composed by H…
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Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1093415 Composed by Hans Florian Zimmer, Harold Faltermeyer, and Lorne Balfe. Arranged by Susan Staples Bell. Film/TV,Patriotic,Pop,Rock,Video Game. Score. 3 pages. Susan Staples Mast Bell #697495. Published by Susan Staples Mast Bell (A0.1093415). Top Gun Anthem Multi Level Piano Ensemble By Harold Faltermeyer Arranged by Susan Staples Bell, ASCAP From Sheet Music Plus: There’s so much more to discover! Support the composer directly- https://www.susanstaplesbellmusic.com/ Top Gun Anthem is an instrumental rock composition and the theme of the Top Gun media franchise, including the original 1986 film Top Gun and its 2022 sequel Maverick. Harold Faltermeyer wrote the music with Steve Stevens playing guitar and Faltermeyer on the keyboard on the recording. In the film, the full song is heard in the film's ending scene. Now, it’s an all time favorite. Here’s a fresh new arrangement, that’s sure to please! Perfect for group lessons, recitals or just plain fun. This is a LEAD SHEET and EASY PIANO arrangement. Written in the Key of C Major, 4/4 time, BPM = Medium Rock, 102 - 112. Includes finger snaps as an option to make younger parts more fun. Piano Ensemble comes with Score and all Parts. This is NOT a Studio License. There’s so much more to discover! For special SALE and FREE items check out: https://www.susanstaplesbellmusic.com/ Check out other compositions by Susan Staples Bell available on Sheet Music Plus: https://www.sheetmusicplus.com/publishers/susan-staples-mast-bell-sheet-music/3014463?aff_id=563375 Also, selected pieces are now available on JW Pepper for a print option: https://www.jwpepper.com/myscore/SusanStaplesBell Susan Bell Youtube: Like, Subscribe & Hit the Notification Bell! https://www.youtube.com/channel/UCGLKCgMtPyUB7ba7lsmoycg Follow me on Facebook: https://www.facebook.com/SusanBellPianoStudio.Compositions.
$4.99
4.6 €
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Piano, Voix et Guitare
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Harold Faltermeyer Arranged by Susan Staples Bell, ASCAP From Sheet Music Plus: There’s so much more to discover! Support the composer directly- https://www
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Hans Florian Zimmer, Harold Faltermeyer, and Lorne Balfe
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Susan Staples Bell
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Top Gun: Maverick Anthem
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Susan Staples Mast Bell
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SheetMusicPlus
Goin' Home - From the New World Op. 95
Harpe, Flûte (duo)
Instrumental Duet Flute,Harp,Instrumental Duet - Level 3 - Digital Download SKU: A0.502…
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Instrumental Duet Flute,Harp,Instrumental Duet - Level 3 - Digital Download SKU: A0.502638 Composed by Antonin Dvorak. Arranged by Arranged by Karen Almquist, Edited by Jennifer Grady. Classical,Romantic Period. Score and parts. 4 pages. HarpSong, Jennifer Grady and Karen Almquist #114989. Published by HarpSong, Jennifer Grady and Karen Almquist (A0.502638). “Goin Home†is a peaceful and moving flute and harp arrangement of Antonin Dvorak’s magnificent Symphony No. 9 “From the New World†2nd Movement. The arrangement in Eb begins and ends quietly in the lower register of the instruments. The flute introduces the melody over quiet eighth note arpeggios on the harp. The harp plays the melody in the second verse. “Goin Home†builds to a glorious ending with an uplifting harp glissando, full rolled chords and flute soaring in its high register. The music is full of emotion and hope. William Arms Fisher a student of Dvorak penned the moving lyrics “Goin Home†to the music. Goin' home. Goin' home. I'm a-goin' home. Quiet-like some still day, I'm just goin' home. It's not far, just close by, through an open door. Work all done, cares laid by, goin' to roam no more; Mother's there 'xpecting me, father's waiting, too, Lots of folks gathered there, all the friends I knew. Morning star lights the way, restless dream all done. Shadows gone, break of day, real life just begun. There's no break, there's no end, just a-living on; Wide awake, with a smile, going on and on. Going home. Going home, I'm just going home. It's not far, just close by, through an open door.
$4.99
4.6 €
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Harpe, Flûte (duo)
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Antonin Dvorak
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Goin' Home - From the New World Op. 95
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HarpSong, Jennifer Grady and Karen Almquist
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.88 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.88 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
The Village
Ensemble de Flûtes
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo,Soprano Flute - Level 4 - Digi…
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo,Soprano Flute - Level 4 - Digital Download SKU: A0.1242493 By Wrabel. By Andrew Jackson, Andrew Pearson, and Stephen Wrabel. Arranged by a do Ray me flute studio production Ray-Michael Kauffman. 21st Century,Contemporary,Film/TV,Pop,Singer/Songwriter. 53 pages. As do Ray meflute studio production #837642. Published by as do Ray meflute studio production (A0.1242493). The Village by Wrabel, arranged for flute choir /ensemble arranged by me, Ray-Michael Kauffman. This beautiful and poignant song is part of my Compositions that care series, meaning all profits from thios arrangemnt goes to a charity. This charity is for LGBTQ+. ( about the song meaning)Wrabel, the composer, stated the song is about the LGBTQ+ community and all the hardships they face.The song is directed and to encourage and give hope to a trans person who is being treated poorly and ostracized , and to let that perosn struggling know that there is absolutely Nothing wrong with you and there's soemthing wrong with the village.Too many of the trans/LGBTQ+ comminity are struggling , especially in todays political climate. All around the world LGBTQ+ persons are being bullied, discriminated against , attacked, thrown in jail , and even killed with liitle to no laws to protect people.in my own personal life, as a victim of a horrible hate crime where the person involved attmepted to beat me and kill me , unfortuanelty i found out very qucikly how laws even in the USA do not protect me , how many cops ignored me and/or attmepted to make the attack my fault , and how laywers did not want to help and judges either ,and beacsue of the laws i was not protected as a minority and the crime wasn't a hate crime even though the criminals admitted this as the reason of the attack.I was told that this was not a hate crime , unless the criminals made me a victim of S.A., used a car/vehicle , or a gun, or actually ended my life. I also wanted to add , this brutal attack ( recorded on video by the criminals ) which caused such serious bodily harm, had me in the hospital for surgeries, and required months of long and painful rehab and therapy.As a country, as a society, as a planet , we all need to do better, and have to have more protections for such a discriminated group of persons.I did want to add , all the issues happening around the world, and even here in the USA, such as the awful and fascist discrimitory laws in Florida and other states it's no wonder the statistics of LGBTQ+ that contemplate ending their person or even attempting the act .I ask respectfully that every one please go to law makers and demand better laws and treatments of people no matter what community there are of. All people deserve respect, proper medcial care, and to have the same rights as every other human being. We all can and must be the change you wish to see in the world. ( Ganhdi)Thank you for checking my special arrangement out, and please check out my other arrangements on SheetMusicPlus and my Website @ doRaymeflute.comÂ
$17.99
16.57 €
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Ensemble de Flûtes
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Wrabel
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The Village
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as do Ray meflute studio production
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SheetMusicPlus
The Emotional Lives of Colors (for trumpet, piano, and percussion)
B-Flat Trumpet,Percussion,Piano - Level 5 - Digital Download SKU: A0.1201730 Compos…
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B-Flat Trumpet,Percussion,Piano - Level 5 - Digital Download SKU: A0.1201730 Composed by Brandon Nelson. 20th Century,Chamber,Classical,Contemporary,Contest,Festival. 37 pages. Brandon Nelson #800346. Published by Brandon Nelson (A0.1201730). Johann Wolfgang von Goethe and his theory on how colors impacted mental states was the inspiration for this piece. He was far more gifted with prose than I, so I’ll him explain further:We shall not be surprised to find that [colours’] effects are at all times decided and significant, and that they are immediately associated with the emotions of the mind.Colour, considered as an element of art, may be made subservient to the highest aesthetical needs.General impressions produced by single colours cannot be changed[.] They act specifically and must produce definite, specific states in the living organ. Experience teaches us that particular colours excite particular states of feeling.Goethe goes on to detail these notions in an elaborate, deeply imaginative treatise. Sadly for him, this work was coming out just as the science of optics had begun to give the world an empirical understanding of color, leaving Goethe’s romantic ideas in the margins.But it is those ideas that I find intriguing from a poetic viewpoint, and, in this composition, I shed musical light unto his dramatic descriptions of several different colors.“Yellow-Red†is described as “primordial, impetuous, robust,†to the point of eliciting “extreme excitement†which disturbs and enrages even animals!“Yellow†is portrayed as that being nearest to natural light. It is of “utmost purity and beauty[….] Serene, gay, softly exciting.â€The color “Red-Blue†we are told is “something lively without gladness.â€â€œBlue†is steeped in darkness, a “contradiction between excitement and repose.†It gives one the “impression of cold.†and brings to mind melancholy.
$29.99
27.63 €
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Brandon Nelson
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The Emotional Lives of Colors
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Brandon Nelson
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SheetMusicPlus
Arrival Of The Birds
Harpe
Composed by Jason Swinscoe and Johann Gunnar Johannsson. Arranged by Cecile-Marie Li…
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Composed by Jason Swinscoe and Johann Gunnar Johannsson. Arranged by Cecile-Marie Lissens. Contemporary. Score. 6 pages. CMLissens #6518149. Published by CMLissens
Harp arrangement of Arrival of the Birds, written by Jason Swinscoe and performed by the Cinematic Orchestra. Can be played both on lever and pedal harp. There are no pedal or lever changes. This is the slightly easier version that can be played on small lever harps with range from A below the small C (C3) to A above the treble staff (A2-A5)<br> <br> Beautiful music, perfect for several occasions! This piece was featured as soundtrack in The Crimson Wing: Mystery of the Flamingos, in The Theory of Everything and in a commercial for the women's perfume Acqua di Gioia by Giorgio Armani.
$4.99
4.6 €
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Harpe
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Jason Swinscoe and Johann Gunnar Johannsson
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Cecile-Marie Lissens
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Arrival Of The Birds
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CMLissens
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SheetMusicPlus
A Little Bit Here and A Little Bit There (instrumental) from "The Kings" - ACT 1:Song 2
Tuba et Piano
Instrumental Duet Instrumental Duet,Piano,Tuba - Level 3 - Digital Download SKU: A0.784…
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Instrumental Duet Instrumental Duet,Piano,Tuba - Level 3 - Digital Download SKU: A0.784815 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. Score and parts. 21 pages. DF McCorkle Music and eBook Publications #11633. Published by DF McCorkle Music and eBook Publications (A0.784815). ACT ONE: Song 2. The King, by Dennis McCorkle, is a contemporary pop-rock musical of the first two kings of Israel, Saul ben Kish and David ben Jesse and explores the contrasting lives and outcome of each man’s choices in life. [1 Samuel 8:1-3 - And it came to pass, when Samuel was old, that he made his sons judges over Israel. 2 Now the name of his firstborn was Joel; and the name of his second, Abijah: they were judges in Beersheba. 3 And his sons did not walk in his ways, but turned aside after lucre, and took bribes, and perverted judgment.] [Prologue] The curtain rises on the main room of the King’s palace in Jerusalem where the funeral service for King DAVID is being held. The eulogy recounts the life of David and his kingship over Israel that had begun over eighty years prior. A time when there were no kings in Israel except for their God, a time when the Judges governed the people and a time when SAMUEL, an elderly Prophet of God and last Judge, turned his position as Judge over to his two sons. Self-serving and motivated by greed and self-importance, his sons choose paths that were contrary to their father. [A Little Bit Here and a Little Bit There]. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.
$2.99
2.75 €
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Tuba et Piano
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McCorkle, Dennis F
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A Little Bit Here and A Little Bit There
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DF McCorkle Music and eBook Publications
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SheetMusicPlus
"A Youthful Vow" from An Icelandic Suite
2 Pianos, 4 mains
2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.1135493 Composed b…
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2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.1135493 Composed by Ingunn Bjarnadóttir. Arranged by Richard Simm. 20th Century,Chamber,Classical,Folk,Multicultural,World. Score. 2 pages. Richard Simm #735542. Published by Richard Simm (A0.1135493). The last song in this set was composed by Ingunn Bjarnadóttir, a uniquely gifted Icelandic woman who made up tunes from her earliest childhood without any formal musical training at all. Later, her husband wrote down the melodic lines, and she gradually came to the attention of Iceland's musical society, where her large output now commands great respect among those who know their country's cultural history. Her melodies lend themselves well to conventional harmonic treatment, yet their unique character has something ethereal about it, as if it refuses to be tied to the conventional rules of mere academic musical logic. This tune, for example, ends in a key very remote from its beginning, yet it follows a perfect logic of its own! The arranger is indebted to the composer's daughter for her generous permission to use Ingunn's lovely melody, Æskuheit.
$4.95
4.56 €
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2 Pianos, 4 mains
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Ingunn Bjarnadóttir
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Richard Simm
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"A Youthful Vow" from An Icelandic Suite
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Richard Simm
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SheetMusicPlus
Christ Child's Lullaby (Taladh Chriosda) - Strings quintet and piano with parts
Cello,Guitar,Piano,Viola,Violin - Level 2 - Digital Download SKU: A0.801706 Compose…
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Cello,Guitar,Piano,Viola,Violin - Level 2 - Digital Download SKU: A0.801706 Composed by Unknown. Arranged by Connie Boss. Celtic,Christmas,Irish,Sacred. 17 pages. Connie Boss #6428081. Published by Connie Boss (A0.801706). This beautiful Scottish Gaelic Carol is for a Strings quintet and piano. While parts of the melody are still the same, some of it is new. The lyrics are adapted from the original lyrics - changing only some words to fit the lyrics. There are other forms on here to purchase if you don't have all of these instruments. If you don't see exactly what you want, email me at cdboss@cvalley.net and I can do something for you.Lyrics: Christ Child’s Lullaby (Taladh Chriosda) Scottish Gaelic Christmas Carol Arranged by Connie Boss  Refrain: Alleluia alleluia  alleluia  alleluia Verse 1 You are my Love and darling boy You are my treasure and my joy You are my graceful little son Your life has just begun Refrain: Alleluia alleluia  alleluia  alleluia Verse 2: You were sent from up above And now you share your father’s love A babe so poor but love so true You have much strength in you Refrain: Alleluia alleluia  alleluia  alleluia Verse 3: A helpless baby now we sing You truly are the King of Kings You are the true and rightful one For you are God the Father’s son Refrain: Alleluia alleluia  alleluia  alleluia Alleluia
$5.50
5.07 €
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Unknown
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Connie Boss
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Christ Child's Lullaby
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Connie Boss
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SheetMusicPlus
Over The Rainbow
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1164828 By Judy Garland. By E.Y. Yi…
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Piano Solo - Level 4 - Digital Download SKU: A0.1164828 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Thomas Gunther. Film/TV,Jazz,Standards. Score. 3 pages. Thomas Gunther Music Productions #765152. Published by Thomas Gunther Music Productions (A0.1164828). This is my (Thomas Gunther’s) Solo Piano Arrangement of Over The Rainbow. (Also see PopJazzKeys.com/Over-The-Rainbow).I believe the arrangement is suited for intermediate to advanced players. There are different technically demanding elements to it, from polyphony (which require great finger independence), to the techniques associated with the Romantic period (like the ability to work the sustain pedal, arpeggios, and playing thick chords). The video below shows me performing it (with close-up of hands and sheet music), followed by important practice tips!) WHO IS IT FOR?I think classical and jazz pianists will both love it for different reasons. Classical musicians might like to play something more contemporary with a jazzy touch. And jazz musicians might like to studying it for inspiration, or to improve their sight reading and technical skills, or simply because they love it.ABOUT THE SONG Over The Rainbow is one of my favorite classic jazz standards. Most of you might know it from the classic movie The Wizard Of Oz, for which it was actually composed (and sung by Judy Garland).I love everything about this song, it’s melody (which is so cleverly based on a descending diatonic stepwise motion during the [A] section), the harmony, and of course the lyrics that inspire us to believe there might actually be more to life than what we are experiencing day in and day out, well worth dreaming about and searching for.ABOUT THE IMPORTANCE OF LYRICSTo me it is important to study the lyrics of a song before I start arranging it. The lyrics guide me in my search for how I want the arrangement to impact the listener emotionally.Â
$4.99
4.6 €
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Piano seul
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Judy Garland
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Thomas Gunther
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Over The Rainbow
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Thomas Gunther Music Productions
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SheetMusicPlus
There's No Business Like Show Business
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.1107860 Composed by Irving Berlin. Arranged by Aaron Lee. 20th Century,Broadway,Chamber,Musical/Show. 27 pages. J. Aaron Lee #710473. Published by J. Aaron Lee (A0.1107860). There's No Business Like Show Business is the opening number from Irving Berlin's musical, Annie Get Your Gun. In it, the cast are eagerly singing about the joys and challenges of being live performers in an upbeat, energetic number. This arrangement for string quartet is rather challenging and could be suitable for professionals or perhaps advanced students. For more music from Aaron Lee, you can visit www.MusicOfLee.com.
$14.99
13.81 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Irving Berlin
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Aaron Lee
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There's No Business Like Show Business
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J. Aaron Lee
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SheetMusicPlus
Mozart's At the Window [Two-Part Treble]
Chorale 2 parties
Choral Choir (SA) - Level 2 - Digital Download SKU: A0.891216 Composed by Wolfgang …
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Choral Choir (SA) - Level 2 - Digital Download SKU: A0.891216 Composed by Wolfgang Amadeus Mozart. Arranged by Gunnar Madsen, Laurie Betts Hughes. Children,Classical,Contemporary. Octavo. 14 pages. Dandelion Music Press #3106871. Published by Dandelion Music Press (A0.891216). If you are looking to lighten your concert, to program real music, or a piece with rapid text delivery satisfying to mid-level treble choirs and treble community choirs, bring this hilarious 3 minute piece to your outstanding accompanist-pianist and your developing ensemble. Debuted for choir during an educational outreach concert for children with families, Mozart's At the Window is also an effective selection or encore for a Mozart concert, or standing on its own. Piece features lots of vocal doubling and is fully supported by a pianistic reduction-- this piece shines with an amazing accompanist.The choral arranger writes: After getting absolutely sick of the inane music I'd been playing for my young children in the car, I was elated to discover Gunnar Madsen's CD I'm Growing featuring Mozart's At the Window. The kids were delighted with this funny song about some naughty kid, and my husband and I were delighted with the enormous improvement of musical quality in our vehicle. It was shortly thereafter that this choral arrangement was born.Gunnar writes: In my first music theory class in college, the teacher and the students were recalling the silly ways they'd been taught to remember classical melodies when they were young. One of them was for Mozart's 40th symphony (which I'd never heard) which consisted of Now Mozart's at the window - Let him in, Let him in, Let him in. What an ear-worm! For 25 years now I've dreamt of expanding that ditty into something more substantial, and now I'm proud to present the finished piece. I'm really going to get a kick of sending this one to my teacher!Also available in SATB voicingMusic abridged from W. A. Mozart's Symphony No.40 in G minor, K.550 IV. Allegro assai2017 Choral Contest EntryText and concept by Gunnar Madsen, ASCAP | http://www.gunnarspot.com/Arranged for choir by Laurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$2.10
1.93 €
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Chorale 2 parties
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Wolfgang Amadeus Mozart
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Mozart's At the Window [Two-Part Treble]
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Dandelion Music Press
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SheetMusicPlus
Mozart's At the Window [SATB]
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.891208 Composed by Wolfgang Amadeus …
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Choral Choir (SATB) - Digital Download SKU: A0.891208 Composed by Wolfgang Amadeus Mozart. Arranged by Gunnar Madsen, Laurie Betts Hughes. Children,Classical,Contemporary. Octavo. 18 pages. Dandelion Music Press #3106157. Published by Dandelion Music Press (A0.891208). If you are looking to lighten your concert, to program real music, or a piece with rapid text delivery satisfying to mid-level HS choirs and community choirs with adult choral beginners, bring this hilarious 3 minute piece to your outstanding accompanist-pianist and your developing ensemble. Debuted for choir during an educational outreach concert for children with families, Mozart's At the Window is also an effective selection or encore for a Mozart concert, or standing on its own. Piece features lots of vocal doubling and is fully supported by a pianistic reduction-- this piece shines with an amazing accompanist.The choral arranger writes: After getting absolutely sick of the inane music I'd been playing for my young children in the car, I was elated to discover Gunnar Madsen's CD I'm Growing featuring Mozart's At the Window. The kids were delighted with this funny song about some naughty kid, and my husband and I were delighted with the enormous improvement of musical quality in our vehicle. It was shortly thereafter that this choral arrangement was born.Gunnar writes: In my first music theory class in college, the teacher and the students were recalling the silly ways they'd been taught to remember classical melodies when they were young. One of them was for Mozart's 40th symphony (which I'd never heard) which consisted of Now Mozart's at the window - Let him in, Let him in, Let him in. What an ear-worm! For 25 years now I've dreamt of expanding that ditty into something more substantial, and now I'm proud to present the finished piece. I'm really going to get a kick of sending this one to my teacher!Also available in Two-Part Treble voicing.Music abridged from W. A. Mozart's Symphony No.40 in G minor, K.550 IV. Allegro assai2017 Choral Contest EntryText and concept by Gunnar Madsen, ASCAP | http://www.gunnarspot.com/Arranged for choir by Laurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$3.25
2.99 €
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Chorale SATB
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Wolfgang Amadeus Mozart
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Mozart's At the Window [SATB]
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Dandelion Music Press
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SheetMusicPlus
The Best is Yet to Come!
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.726371 Composed by Kenneth B…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.726371 Composed by Kenneth Baird. Christian,Gospel,Pop. Score. 2 pages. Kenneth Baird Music #12397. Published by Kenneth Baird Music (A0.726371). A joyous song acknowledging that God's plans for each of us are for good...that no matter what challenges you may be facing now, you best days are right in front of you. This is a two-page lead sheet. Lyrics: Though it may seem like a jour-ney of a thou-sand years, Though it may seem like a trail that has no end, There’s a light that’s just a-head, There’s a joy to which we’re led, It can light up a-ny dark-ness, can bright-en a-ny sky, Can make this life a ce-le-bra-tion, a dance to glo-ri-fy... At times, this life can seem so dis-ap-point-ing. So ma-ny trials reach out to shake us from the joy. We may choose to fight a-lone, But, our King, who rules from His hea-ven-ly throne, Can light up a-ny dark-ness, can brigh-ten a-ny sky, Can make this life a ce-le-bra-tion, a dance to glo-ri-fy... The best is yet to come! The best is yet to come! Take His hand, the mu-sic’s play-ing. The dance of life’s be-gun. The best is yet to come! The best is yet to come! Don’t wait a-no-ther day or min-ute. Em-brace this life that you’ve be gi-ven. De-light in Him for He is ri-sen! The best is yet to come!. You’ve been blessed with a gift that’s on-ly yours to share. You can shine a smile that no one else can wear. In His heart you have a home That’s yours and yours a-lone. He will light up e-very dark-ness, will brigh-ten e-very sky, He will make this life a ce-le-bra-tion, a dance to glo-ri-fy...
$4.00
3.68 €
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Piano, Voix
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Kenneth Baird
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The Best is Yet to Come!
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Kenneth Baird Music
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Conductor's Score
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1018940 Composed by Benjamin Ha…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1018940 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 13 pages. Benjamin Sajo #6078661. Published by Benjamin Sajo (A0.1018940). 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.
$20.00
18.42 €
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Orchestre
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
March of the Arachnids
Orchestre d'harmonie
Concert band - Digital Download SKU: IZ.CBS151-S Composed by Britt Burns. Score. 17…
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Concert band - Digital Download SKU: IZ.CBS151-S Composed by Britt Burns. Score. 17 pages. Imagine Music - Digital #CBS151-S. Published by Imagine Music - Digital (IZ.CBS151-S). 9 x 12 in inches.March of the Arachnids was composed with the intention of being music for the Halloween season, although it could beperformed at other times in the year. The early sketch was written in 2008, although the work wasn't fully realized until theSpring of 2011. The work is dedicated to my composer friend, Joseph Eidson, whose music largely inspired theorchestration and harmonic material for this piece.Creepy, energetic, dissonant, and playful - these adjectives best describe the work. It begins with the solo timpani thatimmediately sets the sneaking tone for the arachnids that have begun crawling. After a build-up in the woodwinds, thetrumpets introduce the terror with the main arachnid theme. From there, the tune is shared throughout the ensemble, givingnearly every instrument a chance to play the arachnid theme. A contrasting, calmer theme is introduced, simply to give ussome hope and relief that the arachnids will leave. The piece gradually grows more thick and dissonant over time, withwebby textures of woodwinds and muted brass. A short coda with the full ensemble ends the work where the piece reachesits climax.
$8.00
7.37 €
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Orchestre d'harmonie
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Britt Burns
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March of the Arachnids
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Imagine Music - Digital
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SheetMusicPlus
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