SKU: HL.49019902
ISBN 9790220134098. 8.25x12.0x0.059 inches. English.
As Master of the Queen's Music, Sir Peter Maxwell Davies has written a new carol for Her Majesty the Queen each Christmas since his appointment to the role in 2004. A Winter Lamb, a setting of George Mackay Brown's poem Kings and Shepherds, was written for Christmas 2012 and is the ninth in his series of Royal Carols. A Winter Lamb was first performed in St. James's Palace by the choir of the Chapel Royal.
SKU: MH.1-59913-054-8
ISBN 9781599130545.
Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.
SKU: CA.5148613
ISBN 9790007225179. Language: German. Text: Stephanie der Jungere, Johann Gottfried. Text: Johann Gottfried, Stephanie der Jungere.
Der Schauspieldirektor (The Impresario) was composed in the spring of 1786 to fulfill a commission from Joseph II for performance during a visit to Vienna by the Governor-General of the Netherlands. The visitors were meant to be entertained with a short German and an Italian musical comedy during a festival arranged on short notice in Schonbrunn Palace. The choice of composers fell to Mozart and Salieri. Both pieces spoofed the theatrical practices of the day. Der Schauspieldirektor, by Gottlieb Stephanie the Younger, has a loosely-constructed plot that hinges on the vanity of opera singers and the empty-headedness of many traveling companies. Frank Lustig wants to create a new theatrical troupe, for which Herr Eiler is willing to supply money, but only on condition that his lady friend is allowed to join. In the course of the piece, appearances are made by other ladies with resonant names who want to be retained as singers and who attempt to outdo each other until reason is allowed to prevail. Score and part available separately - see item CA.5148600.
SKU: FL.FX073532
Instruments: 1 Solo Piano; Difficuly Level: Grade 4.
SKU: CF.BPS103F
ISBN 9781491147825. UPC: 680160905324. 9 x 12 inches.
The mystery and romance surrounding Egypt's Nile river, expansive deserts, mighty pyramids, Valley of the Kings, and legacy of art and culture has inspired generations of men and women around the globe. In ancient Egypt, the word Pharaoh meant Great House, referring first to the royal palace itself and later to the ruler in power as an official title of leadership. Land of the Pharaohs is a short, musical depiction of the power that the ancient Pharaohs once held and the drama that has captivated mankind since the end of their long reign.
SKU: BT.DHP-1094661-020
9x12 inches. English-German-French-Dutch.
Puttin’ on the Ritz, dessen Titel sich vom mondänen Ritz- Hotel ableitet und so viel bedeutet, wie sich schick und modern kleiden“, ist ein Lied von Irving Berlin, das erstmals im gleichnamigen Musikfi lm von 1930 erschien. Seither wurde es oft interpretiert, zum Beispiel von Fred Astaire oder in der Top-Ten-Version aus den 80er-Jahren von Taco. Lorenzo Bocci setzte das rhythmisch sehr interessante, swingende Stück für Fanfareorchester um.“Putting on the Ritz : c'est ainsi que les Anglo-Saxons se « mettent sur leur 31 », consacrant, au passage, le mondialement célèbre palace comme éternel symbole de du luxe et de la perfection. Irving Berlin célèbrera cet art de vivre avec la chanson Puttin’ on the Ritz, reprise par de nombreux artistes. Lorenzo Bocci en a réalisé un arrangement absolument “ritzy.
SKU: AP.36-A296302
UPC: 659359760488. English.
A dream inspired Charles Tomlinson Griffes (1884-1920) to compose The Pleasure Dome of Kubla Kahn, based on the poem by Samuel Taylor Coleridge. The composer originally wrote it for piano in 1912. Four years later, at the encouragement of Ferruccio Busoni, he expanded it into a shimmering symphonic poem. Following the first performance in the autumn of 1919 under the direction of Pierre Monteux, it achieved great success and remains one of his most frequently-performed works today. The work reveals the influence of French impressionism, meandering through the lush gardens of the legendary palace. This edition by Gregory Vaught is part of the Nieweg Performance Editions series. Instrumentation: 3(3rd dPicc).2+EH.2+BCl.3: 4.3.3.1: Timp.Perc(3): Hp(2).Clst.Pno: Str (9-8-7-6-5 in set).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: HL.14008374
ISBN 9781846096150. UPC: 884088435202. 8.25x11.75x0.105 inches.
The Full Score for Peter Maxwell Davies' fourth in a series of ten string quartets commissioned by the Naxos Recording company, first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace, Oslo, Norway, as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004, with the intention of producing something lighter and much less fierce than its predecessor, an unpremeditated and spontaneous reaction to the illegal invasion of Iraq. I returned to the well-known Brueghel picture of children's games (1560, now in Vienna), which had been the inspiration for my sixth Strathclyde Concerto, for flute and orchestra. These illustrations liberated my musical imagination, but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of the work. Suffice it to say that there is vigorous play - leap-frog, bind the devil with a cord, truss, wrestling - alongside quieter pastimes - masks, guess whom I shall choose, courting, odds and evens. The single movement juxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture, taking liberties which would never be present in, for instance, Brunelleschi architectural drawings, so here, with a constant sequence of transformation processes, I have distorted the neat, precise implications of modal progression, expressed in the unison opening phrase (from F to B through A sharp/B flat), so that the ear is led, en route, into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that I was reading into, and behind the games, adult motives and implications, concerning aggression and war, with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B progression underlying the whole construction derives from a passage in the development of the first movement of Mahler's Third Symphony, and the opening of Schoenberg's Second String Quartet. However, unlike in these models, here a real - if temporary - sense of resolution occurs at the close of the quartet: as when the curtain falls on the reconciled Count and Countess in 'Figaro' one wonders how long the F/B truce will hold, and games break out again. The quartet is dedicated to Giuseppe Rebecchini, Roman architect, and friend since the nineteen-fifties.
SKU: FP.FCJ01
ISBN 979-0-57050-026-0.
A wonderful set of 10 pieces inspired by the adventures of the Greek and Roman Gods, with stories and illustrations. Suggested grade 1-2.
SKU: WD.080689326974
UPC: 080689326974.
Join the cast of Trading Places at a Hebrew home and an Egyptian palace where Page Turner, Hildi Vine, Frank Incense and Ty Kwando assist kids in discovering the story of Moses. But there's no redesigning history in this musical as kids learn about the plagues, the Passover, the Exodus and the Ten Commandments through clever lyrics and memorable music. As in his own life, the emphasis of this musical is not on Moses, but the God of Moses -- the Great I AM! Ages: 1st - 8th Grades.
SKU: BR.OB-14617-15
ISBN 9790004344538. 10 x 12.5 inches.
During his Bohemian spa trip in September 1811, Beethoven notated the first sketches for the Seventh Symphony, a work that occupied him until May 1812 - parallel at times with its disparate sister work, the Eighth Symphony in F major. After a non-public rehearsal on 21 April 1813 in Archduke Rudolph's palace, the Seventh was officially premiered on 8 December, together with the programmatic symphony Wellington's Victory or the Battle of Vitoria op. 91. The concert given before 5,000 enthusiastic listeners became Beethoven's greatest success, probably mainly because of the second mentioned work.The present edition from the new Beethoven Complete Edition re-evaluates the complicated source situation, using as the main sources only the autograph and the parts from the premiere. Revealed could be a number of writing errors and misunderstandings in the copying of the parts, leading to changes from previous editions, particularly concerning numerous markings of dynamics and articulation.
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