SKU: BT.CMP-0226-98-010
Wagner on Stage uses extracts from four best-loved of Wagnerâ??s operas: Tannhäuser, Götterdämmerung, Lohengrin and Die Meistersinger von Nu?rnberg. Richard Wagner certainly wrote the most dramatic operas of his time. His works are full of passion, dynamic, but also sentimentality. James L. Hosayâ??s arrangement offers therefore a great insight into the creative world of Wagner, whose 200th birthday is celebrated in 2013. In Wagner on Stage komen fragmenten van de vier mooiste operaâ??s van Wagner aan bod: Tannhäuser, Die Götterdämmerung, Lohengrin en Die Meistersinger. Richard Wagner staat bekend om de meest theatrale operaâ??s van zijn tijd. Zijn partituren zitten vol hartstocht, dynamiek en sentiment. Het arrangement van James L. Hosays geeft een prachtige indruk van de muzikale prestaties van Wagner. Bovendien staat het jaar 2013 in het teken van de tweehonderdste geboortejaar van deze bekende Duitse componist. Een mooi gegeven om bij stil te staan met uw orkest!Wagner on Stage verwendet Auszu?ge aus den vier schönsten Wagner-Opern: Tannhäuser, Götterdämmerung, Lohengrin und Die Meistersinger von Nu?rnberg. Richard Wagner schrieb wohl die dramaturgischsten Opern seiner Zeit. Seine Partituren sind voller Leidenschaft, Dynamik, aber auch Sentimentalität. James L. Hosays Arrangement bietet somit einen schönen Einblick in die musikalische Schaffenskraft Wagners, dessen 200. Geburtstag wir im Jahr 2013 feiern.Wagner on Stage met en scène des extraits de quatre opéras de Wagner : Tannhäuser, Le crépuscule des dieux, Lohengrin et Les maîtres chanteurs de Nurenberg. Richard Wagner a probablement écrit les opéras les plus dramatiques de son temps. Ses compositions, pleines de passion, de dynamisme, mais également de sentimentalité, ont inspiré James L. Hosay. Wagner on Stage est un arrangement fidèle donnant un large aperçu de la grande créativité de Richard Wagner, dont le 200e anniversaire sera célébré en 2013.Wagner on Stage mette in scena estratti di quattro opere di Wagner: Tannhäuser, Il Crepuscolo degli Dei, Lohengrin e I maestri cantori di Norimberga. Richard Wagner ha probabilmente composto queste opere in momenti drammatici del suo tempo. Le sue composizioni piene di passione, di dinamismo ma anche di sentimentalismo, hanno inspirato James J. Hosay. Wagner on Stage è un arrangiamento fedele che illustra la grande creativit di Richard Wagner il cui 200° anniversario dalla nascita sar celebrato nel 2013.
SKU: SU.28040240
A pair of musical essays on the ephemeral nature of our world. The movements are: I. A Coming Together and II....and nothing remains the same. Composed for the ensemble Eight Strings & a Whistle. A perusal score and recording are available at: https://www.johnnewellmusic.com/works/chamber-ensemble/Flute, Viola & Violoncello Duration: 14' Composed: 2012/2020 Published by: Abierto Music.
SKU: BR.EB-9014
World premiere: Stuttgart, May 16, 1985
ISBN 9790004178980. 9 x 12 inches.
Der Ausrufer, neutral Verkundender und Einladender, der offentlich Sprechende, doch aus sich heraus nichts Sagende, steigt ins Subjekt-Innere, blaht sich auf, lasst dessen Privatheit und Abgeschlossenheit zerplatzen, verwandelt die Mittel seines Metiers: Ruf, Rhythmus, Tempo vom Neutral-Allgemeinen ins Subjekthaft-Besondere, steigt empor: nun ausrufendes Ich voller innerer Intensitat. Die materielle Darstellungsebene sind 4 Saiten + Bogen / 4 Finger + Daumen (4+1 = 5). Die feststehenden Masse sind gleichzeitig die Aussengrenzen fur Moglichkeiten im Inneren: Streckendurchmessungen (bis zur Achtelton-Teilstrecke und einem Achtel Bogenlange), Spaltung in Teilschwingungen, vorgeschriebene Bogengeschwindigkeit und anderes. Tempo, Dauer, Rhythmus bewegen sich, gegeneinander verschoben kombiniert, auf einem Achsensystem, dessen Proportionen divisive Zeitfalten im Inneren der Hulldauern (1, 1 / 2, 1 / 3 usw.) sowie additive Zeitentfaltungen nach aussen (1, 2, 3 usw.) bilden und sowohl die Tempoverhaltnisse wie auch die Hulldauern selbst erfassen (MM = 7,5 12 20 30 60 usw.). Der Punkt des Emporsteigens gegen Ende ist ein funfzeiliges gereimtes Stufen-Tongedicht. (Nicolaus A. Huber, 1984) CD: Michael Bach (violoncello) CD Telos Music TLS 018 Bibliography: Huber , Nicolaus A.: THIRTY ARE BETTER THAN ONE (A. Warhol), in: Neue Musik und andere Kunste, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 50), Mainz u.a.: Schott 2010, pp. 220-235.World premiere: Stuttgart, May 16, 1985.
SKU: CL.011-4677-00
The fascinating world of Renaissance music comes to life as your band performs this spirited setting of three dances from Susato’s Danserye. Harmonic, rhythmic, and dynamic surprises abound as the piece begins with a light and delicate Ronde, continues with a lively boisterous Salterelle, and finishes with a stately grand Ronde/Aliud. This masterfully scored arrangement remains true to Susato’s original while taking advantage of the many colors available in the modern concert band. Your developing players, and the audience as well, will be delighted by this journey into such an exhilarating time in music’s history.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: CL.011-3828-01
This sparkling march from the pen of Len Orcino brings all the thrilling sights, sounds and scents of the wonderful world of the circus. Modest technical demands make this bright march well within reach of developing young bands. Step right up, ladies and gentlemen, children of all ages, to the Three Ring Circus!.
SKU: CL.011-4677-01
SKU: OU.9780193563056
ISBN 9780193563056. 10 x 7 inches.
For SSA and piano Our Voice sets the poem 'Murmuration' by contemporary poet Eleanor Stewart-Pointing, which explores the relationship between the human voice and the sounds and music of the natural world. The piano writing gives the piece an energetic, jazzy feel, while the voice parts are sustained and intuitive.
About Songbird
Songbird presents new and exciting original material for upper voices. Showcasing the work of today's most innovative names in choral writing, the series includes songs in a variety of scorings, from SA voices with piano to SSAA and percussion. With a range of distinctive musical styles - and warmth, flair, and character in abundance - this is upper-voice choral music at its very best.
SKU: FJ.HX9014
English.
Originally recorded by Monika Herzig and a cast of musical collaborators from around the globe on her 2016 album, The Whole World in Her Hands, Oh, Muddy Waters is a bluesy call-and-response between bass instruments and the whole ensemble. Monika has arranged the small group version for big band, with modest brass ranges, suggested piano voicings, and solo space for tenor sax and guitar (or piano). Solo transcriptions are provided that match the recording note-for-note. Laid-back, soft syncopations and a rich harmonic language bring to life a composition that builds on that initial bass riff. Top trumpet note: G5.
SKU: FJ.HX9014S
SKU: PE.HX9014
SKU: KJ.9154
UPC: 840270439.
In this day that the Lord has made let us rejoice and sing the beauty of the turning world from which our being springs. Nobody understands the relationship between text and tune better than Alice Parker! Her original text and lilting melody are beautifully paired here with a gentle, lyrical piano accompaniment. Useful throughout the year!
SKU: HL.14030976
ISBN 9788759853757. 9.5x14.25x0.086 inches. English.
The composer writes, 'Quite some time ago I heard - through a conversation in a mobile phone - a wonderful concert of ringing church bells from an European capital. I found it very hard to concentrate about the conversation, because I was so engrossed by the chaotic world of bell sound. The night after, I dreamt that the sound of those low singing bells was rising up from a piano in a huge empty concert hall. That experience became the starting point for my piano piece, 'The Shadows of Silence'. But before the piece gets to the ringing bells it moves through a landscape of shadows - Shadows of the silence before the bells - Silence before the storm - Shadows of melodies which all the time leaves traces even in the short passages of storm. After the passage with the low ringing bells the shadows of silence returns melted in to a lament, which are sending two regards. One to two small beautiful - not very well known - bars by Mozart, and one to the sextet in my own opera, 'Under the Sky'.
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