SKU: BT.GOB-000695-130

In ‘Land of Legends’ German composer Andreas Ludwig (what’s in a name) Schulte takes you along to the fictional world of legends, myths and fairy tales.
The introduction to the first part (The Castle) describes the majestic contours of the scene of action. Its instrumentation (horns) immediately makes you imagine being in Medieval spheres.
The addition of trenchant copper instruments even gives the part a heroic tinge. After entering through the gate, a lot of hustle and bustle appears to be going on in the courtyard. Pages, squires and soldiers are busy attending to their arms. Beer is being brewed, flax is being spun, cattle are being tended and some craftsmen fromneighbouring villages are busily at work.
In the upper chamber of the round tower lives an old man (The Old Wizard). He hardly ever comes out, and nobody knows exactly what he is doing. It is said that he is engaged in wizardry and magic. It is all very mysterious.
There are also festivities, some of them sober, others exuberant.
The wedding in the third part is celebrated in a grand manner. With a flourish of trumpets, the bride makes her entrance at the hand of her father. Afterwards, at the party there is dancing to the music played by minstrels and of course a plentiful banquet follows.

In ‘Land of Legends’ worden we door de Duitse componist Andreas Ludwig (what’s in a name) Schulte meegenomen in de fictieve wereld van legendes, sagen en sprookjes.
De inleiding van het eerste deel (The Castle) beschrijft de majestueuzecontouren van de plaats van handeling. De instrumentatie (hoorns) zorgt er mede voor dat we ons direct in Middeleeuwse sferen wanen.
De toevoeging van het scherp koper geeft zelfs een heldhaftige tintje.Wanneer we doorde poort naar binnen gaan blijkt dat het op binnenplaats een en al bedrijvigheid is.
De pages, schildknapen en soldaten houden zich bezig met het in tact houden van de wapenuitrusting. Er wordt bier gebrouwen, vlas gesponnen,het vee wordt verzorgd en enkele ambachtslieden uit de omliggende dorpen zijn druk in de weer.
In de bovenste kamer van de ronde toren verblijft een oude wijze man (The old Wizzard). Hij laat zich bijna nooit zien, niemandweet wat hij precies doet. Er wordt gezegd dat hij zich bezig houdt met tovenarij/magie. Het is een groot mysterie, in nevelen gehuld.
Gefeest werd er ook. De ene keer sober de andere keer uitbundig.
De bruiloft in het derdedeel heeft allure. Onder luid trompetgeschal wordt de bruid aan de hand van haar vader binnengebracht. Tijdens het feest wordt er gedanst onder begeleiding van de troubadours en natuurlijk volgt een bourgondische maaltijd.

SKU: BT.GOB-000695-030

In ‘Land of Legends’ German composer Andreas Ludwig (what’s in a name) Schulte takes you along to the fictional world of legends, myths and fairy tales.
The introduction to the first part (The Castle) describes the majestic contours of the scene of action. Its instrumentation (horns) immediately makes you imagine being in Medieval spheres.
The addition of trenchant copper instruments even gives the part a heroic tinge. After entering through the gate, a lot of hustle and bustle appears to be going on in the courtyard. Pages, squires and soldiers are busy attending to their arms. Beer is being brewed, flax is being spun, cattle are being tended and some craftsmen fromneighbouring villages are busily at work.
In the upper chamber of the round tower lives an old man (The Old Wizard). He hardly ever comes out, and nobody knows exactly what he is doing. It is said that he is engaged in wizardry and magic. It is all very mysterious.
There are also festivities, some of them sober, others exuberant.
The wedding in the third part is celebrated in a grand manner. With a flourish of trumpets, the bride makes her entrance at the hand of her father. Afterwards, at the party there is dancing to the music played by minstrels and of course a plentiful banquet follows.

In ‘Land of Legends’ worden we door de Duitse componist Andreas Ludwig (what’s in a name) Schulte meegenomen in de fictieve wereld van legendes, sagen en sprookjes.
De inleiding van het eerste deel (The Castle) beschrijft de majestueuzecontouren van de plaats van handeling. De instrumentatie (hoorns) zorgt er mede voor dat we ons direct in Middeleeuwse sferen wanen.
De toevoeging van het scherp koper geeft zelfs een heldhaftige tintje.Wanneer we doorde poort naar binnen gaan blijkt dat het op binnenplaats een en al bedrijvigheid is.
De pages, schildknapen en soldaten houden zich bezig met het in tact houden van de wapenuitrusting. Er wordt bier gebrouwen, vlas gesponnen,het vee wordt verzorgd en enkele ambachtslieden uit de omliggende dorpen zijn druk in de weer.
In de bovenste kamer van de ronde toren verblijft een oude wijze man (The old Wizzard). Hij laat zich bijna nooit zien, niemandweet wat hij precies doet. Er wordt gezegd dat hij zich bezig houdt met tovenarij/magie. Het is een groot mysterie, in nevelen gehuld.
Gefeest werd er ook. De ene keer sober de andere keer uitbundig.
De bruiloft in het derdedeel heeft allure. Onder luid trompetgeschal wordt de bruid aan de hand van haar vader binnengebracht. Tijdens het feest wordt er gedanst onder begeleiding van de troubadours en natuurlijk volgt een bourgondische maaltijd.

SKU: PE.EP72698A

ISBN 9790577010519. 210 x 297mm inches. English.

Commissioned by Making Music with funds from the Nicholas Berwin Charitable Foundation

First performance: 12th March 2016, Waltham Singers, conducted by Andrew Fardell, King Edward's Grammar School, Chelmsford.

Music runs through the story of Arion, which begins with a singing competition in Sicily. Arion wins the prize, and this puts his life in danger: his newfound wealth excites the Greed of the sailors who are supposed to be bringing him back to Corinth, and they threaten to kill him.  They allow Arion to sing one last song, and the power of his singing attracts dolphins to the ship.  At The End of his song, he jumps overboard, and one of the dolphins carries him to safety.  So Arion’s musical gift gets him into trouble, but it is also his salvation.  

The idea of being rescued by a music-loving dolphin is very appealing.  In Robert Graves’ account of the myth, the dolphin could not bear to be parted from Arion, and accompanied him back to court, where “it soon succumbed to a life of luxury.”  However, Herodotus says that, after his rescue and return to Corinth, Arion failed to return the dolphin to the sea, and it died there.  Apollo placed the dolphin among the stars, and next to it, Arion’s lyre, in recognition of his musical skill.  This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra.

It seems natural to sing a story that has singing at its heart.  When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music, something that would be within reach of many choirs, and involve children, this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors, and the women could create an atmosphere of mystery for the arrival of the dolphins, represented by children’s voices.  There would be one solo voice: Arion, the marvellous singer.  Andrew Fardell, the conductor who was advisor to this commission, had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana, a work that, as well as using children’s chorus, features a solo countertenor.  I thought the magical, otherworldly quality of this voice would help to convey the extraordinary effect Arion’s singing had on all who heard it. 

- Jonathan Dove

SKU: ST.K48

ISBN 9790220224454.

Complementary to K49, this collection is a unique offering of music by John Amner, Nicholas Carleton and John Tomkins that is the only surviving keyboard music by the respective composers. In addition to a pair of duets, in themselves an unusual feature from the period, there are two lengthy sets of variations, Amner's being a rare example of those on a metrical psalm or hymn-tune (possibly by Tallis in this case), John Tomkins's being more conventionally modelled on the variation sets of William Byrd. Nicholas Carleton's 'A verse of 4 parts' and 'Upon the sharp' include several examples of unusual chromatic notation and wide-ranging tonal schemes.

CONTENTS
Prelude (for two to play): Nicholas Carleton?
A verse (In nomine) for two to play: Nicholas Carleton
A verse of 4 parts: Nicholas Carleton
Upon the sharp: Nicholas Carleton
O Lord, in thee is all my trust: John Amner
John come kiss me now: John Tomkins.

SKU: SP.TS543

ISBN 9781585609031.

Due to the success of our Instrumental Fingering Posters, we thought it would be helpful to create a smaller version that could be tucked comfortably into any method book as a reference guide. Unbeknownst to us after days of research, we were left with countless questions, much confusion, and a slew of poorly crafted images from contradicting publications. That being said, we realized that there weren't truly any trustworthy resources in print and decided to address the void. We consulted experts in every category asking questions until both we and they and we were satisfied. Finally, a guide to fingering for beginners that even the experienced players will find beneficial. Santorella's Basic Fingering Charts are essential for anyone that picks up an instrument. Initially intended for beginners but after understanding the importance of false fingerings or more appropriately called, alternate fingerings their necessity is vital for playing certain musical passages on a particular instrument. In addition, after observing the difficulties that students had in identifying key signatures, we decided to include the Circle of Fifths diagram and every major scale in two octaves in every key including their enharmonic counterparts. After all was said in done, we now know, we now have the best educational products available for fingering in the industry. Our Basic Fingering Charts are perfect for private students, classroom study, or simply for a quick and easy reference guide while practicing at home. These graphic reference guides for assorted brass, reeds, woodwinds, and orchestral strings are specifically available for Clarinet, Bass Clarinet, Trumpet, Flute, Piccolo, Recorder, Baritone Horn, Trombone, Bass Trombone, Alto Sax, Soprano Sax, Tenor Sax, Baritone Sax, French Horn, Euphonium, Tuba, Oboe, Bassoon, Violin, Viola, Cello, and Bass. Every chart displays the entire range of each instrument by clearly depicting the fingering for each note including all their enharmonic substitutions. Each chart includes a diagram identifying the levers, valves, keys, slides, frets and more of each and every instrument. Learn where, when, and why to place your fingers. Now is the time to truly start playing with assured confidence.

SKU: SP.TS556

ISBN 9781585609161.

Due to the success of our Instrumental Fingering Posters, we thought it would be helpful to create a smaller version that could be tucked comfortably into any method book as a reference guide. Unbeknownst to us after days of research, we were left with countless questions, much confusion, and a slew of poorly crafted images from contradicting publications. That being said, we realized that there weren't truly any trustworthy resources in print and decided to address the void. We consulted experts in every category asking questions until both we and they and we were satisfied. Finally, a guide to fingering for beginners that even the experienced players will find beneficial. Santorella's Basic Fingering Charts are essential for anyone that picks up an instrument. Initially intended for beginners but after understanding the importance of false fingerings or more appropriately called, alternate fingerings their necessity is vital for playing certain musical passages on a particular instrument. In addition, after observing the difficulties that students had in identifying key signatures, we decided to include the Circle of Fifths diagram and every major scale in two octaves in every key including their enharmonic counterparts. After all was said in done, we now know, we now have the best educational products available for fingering in the industry. Our Basic Fingering Charts are perfect for private students, classroom study, or simply for a quick and easy reference guide while practicing at home. These graphic reference guides for assorted brass, reeds, woodwinds, and orchestral strings are specifically available for Clarinet, Bass Clarinet, Trumpet, Flute, Piccolo, Recorder, Baritone Horn, Trombone, Bass Trombone, Alto Sax, Soprano Sax, Tenor Sax, Baritone Sax, French Horn, Euphonium, Tuba, Oboe, Bassoon, Violin, Viola, Cello, and Bass. Every chart displays the entire range of each instrument by clearly depicting the fingering for each note including all their enharmonic substitutions. Each chart includes a diagram identifying the levers, valves, keys, slides, frets and more of each and every instrument. Learn where, when, and why to place your fingers. Now is the time to truly start playing with assured confidence.