Score and Parts Concert Band; Flute (Score & Parts) - Level 3.5

SKU: HL.4006672

Concert Band Score and Parts. Composed by Satoshi Yagisawa. De Haske Concert Band. Classical, Concert. Softcover. Duration 420 seconds. De Haske Publications #1195859010. Published by De Haske Publications (HL.4006672).

ISBN 9781540095954. UPC: 840126928068.

Breeze in the Forest was commissioned for the concert to celebrate the 60th birthday of Professor Haruyuki Nakatsukasa of Osaka Kyoiku University. Kanreki is a special term used to celebrate reaching the age of 60 in Japan. The composer was inspired by some of Professor Nakatsukasas admirable characteristics upon composing this work: he speaks softly and at the same level as his students; he is fashionable, stylish and refined. The band accompaniment is at a moderate level of difficulty, allowing the solo flautist to choose this work for many an occasion.

Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Bassoon*, 1st Eb Alto Saxophone*, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st Bb Trumpet, 2nd Bb Trumpet, 1st F Horn, 2nd F Hor) - grade 3

SKU: CN.S11192

Composed by Michael Brand. Band Music. Platinum Band Series. Score only. Duration 5:30. Published by G & M Brand Music Publishers (CN.S11192).

Hear the sounds of marching bands, choirs, and the music of Broadway in this exciting concert march. Inspired by an actual parade in New York, Michael Brand brings us this spectacular original march. Perfect in any setting throughout the year.

In June 1997 I was in New York and had a free weekend. On Sunday morning I was awoken early by a great deal of banging and saw that barriers and roadblocks had been erected throughout Central Park. Why? I soon heard the answer: a great parade. When the Americans put together a parade they really mean it! This one lasted 3 hours and brought the center of New York to a standstill. Bands, dancers and choirs marched past in celebration of the Jewish faith. New York Parade is completely original but its starting point in my imagination was a marching band, a choir and Broadway. The marching band starts in the distance, passes by and as it moves away we hear the next block of performers singing, almost chanting, a hymn (called Jewish Song). The groups suddenly turn into Broadway, as a song from an imaginary show intervenes but then the band and choir return in counterpoint and all three themes come together.

Orchestra ATB vocal soli, SATB Choir, 2 Flutes, 2 Oboes/2 Oboe d'Amore, Violin solo, Strings, Organ

SKU: CA.3111707

Composed by Johann Sebastian Bach. Edited by Hans Grischkat. Sacred vocal music, Cantatas, Praise and thanks. Study score. Composed 1728/1731. BWV 117. 52 pages. Duration 26 minutes. Carus Verlag #CV 31.117/07. Published by Carus Verlag (CA.3111707).

ISBN 9790007091651. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score available separately - see item CA.3111700.

Fake book for voice and C instrument. With vocal melody, lyrics and chord names. 115 pages. Published by Alfred Publishing.

ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111700

Composed by Johann Sebastian Bach. Edited by Hans Grischkat. This edition: Paperbound. German title: Sei Lob und Ehr dem hochsten Gut. Sacred vocal music, Cantatas, Praise and thanks. Full score. Composed 1728/1731. BWV 117. 52 pages. Duration 26 minutes. Carus Verlag #CV 31.117/00. Published by Carus Verlag (CA.3111700).

ISBN 9790007048631. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections.

ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111705

Sei Lob und Ehr dem hochsten Gut neu. Composed by Johann Sebastian Bach. Edited by Hans Grischkat. Sacred vocal music, Cantatas, Praise and thanks. Choral Score. Composed 1728/1731. BWV 117. 4 pages. Duration 26 minutes. Carus Verlag #CV 31.117/05. Published by Carus Verlag (CA.3111705).

ISBN 9790007048655. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score available separately - see item CA.3111700.

ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111703

Sei Lob und Ehr dem hochsten Gut. Composed by Johann Sebastian Bach. Edited by Hans Grischkat. This edition: Paperbound. Sacred vocal music, Cantatas, Praise and thanks. Vocal score. Composed 1728/1731. BWV 117. 28 pages. Duration 26 minutes. Carus Verlag #CV 31.117/03. Published by Carus Verlag (CA.3111703).

ISBN 9790007048648. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score available separately - see item CA.3111700.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Timpani, Triangle, Trombone 1 and more. - Grade 5

SKU: CF.SPS78

Composed by Victor Herbert. Symphonic Band (SPS). Set of Score and Parts. With Standard notation. 3+12+12+6+6+3+12+24+24+6+6+8+8+6+6+9+18+18+27+8+8+8+8+9+9+9+9+12+3+6+6+40+6 pages. Duration 7:37. Carl Fischer Music #SPS78. Published by Carl Fischer Music (CF.SPS78).

ISBN 9781491152553. UPC: 680160910052. Key: Bb major.

Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.
Festival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Timpani, Triangle, Trombone 1 and more. - Grade 5

SKU: CF.SPS78F

Composed by Victor Herbert. Symphonic Band (SPS). Full score. With Standard notation. 40 pages. Carl Fischer Music #SPS78F. Published by Carl Fischer Music (CF.SPS78F).

ISBN 9781491153239. UPC: 680160910731.

Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.
About the CompositionFestival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piccolo and more.

SKU: PR.11641139L

Composed by Lowell Liebermann. Large Score. Duration 15 minutes. Theodore Presser Company #116-41139L. Published by Theodore Presser Company (PR.11641139L).

UPC: 680160682126.

Barcarolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100.   I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici.   My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven.   III. Barcarola/Ostinato/Carillon An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut.   IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness.

By Various Composers. Fake Book (Includes melody line and chords). Size 8.5x11 inches. 416 pages. Published by Hal Leonard.

B-flat Edition. By Various. Fake Book (Includes melody line and chords). Size 8.5x11 inches. Published by Hal Leonard.