SKU: PR.11441825S

UPC: 680160643745. 9 x 12 inches.

In 2011, Barbara Garrop, my mother, commissioned me to write a piano trio in memory of Norman Garrop, my father, who passed away about thirty years ago. When I started brainstorming about topics for the piece, I found it difficult to recall many moments of my early life involving my father. Too many years had passed, and the memories that I could summon were of achild looking up to her father, not an adult relating to an equal. However, while collecting stories of my father from various family members, along with discovering a number of objects that had once belonged to him and that I had stored away in boxes decades ago, I began to realize that this piece wasn't so much about my father as it was about my re-discovering the man that he was: a loving husband and dad who cared deeply about his family and his passions (which included bike riding, collecting coins, strumming our guitar, playing baseball, watching football games, entertaining people, helping to run local theater and puppet productions, and carving objects out of wook); an accountant who dreamed of a better future: a treasurer of our local synagogue; an early advocate for computers (we owned an Apple II+); and a pranster with a great sense of humor. Ultimately, I decided to musically tell the story of my search for these memories. In the first movement (Without), a child calls out in a sing-song voice, searching for her lost parent. This search intesifies over the course of the movement through a series of themes, including a stepping motif in which a two-note progression steadily climbs higher, a pseudo-jewish folksong, and a passionate longing theme. The child's search becomes increasingly intense throughout the movement, calling out fervently and repeatedly to the parent; the movement ends in a moment of great tnesion and uncertainty. The second movment (Within) quietly opens with the lost parent finally answering, represented by a solo cello; the child (now personified by the violin) has found the parent within the sanctuary of her own heart. This movement highlights the joy and solemnity of this beautiful discovery. -S.G.

SKU: PR.11641867S

UPC: 680160683208.

Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

SKU: HL.282475

ISBN 9781540034328. UPC: 888680789190. 9.0x12.0x0.847 inches.

Music is what helped many keep their spirits up during the Great Depression in the 1930s. Here are 100 of the most memorable songs of the decade presented in easy piano arrangements with lyrics. Songs include: As Time Goes By * Blue Moon * Body and Soul * Embraceable You * Georgia on My Mind * The Glory of Love * How Deep Is the Ocean (How High Is the Sky) * I Don't Know Why (I Just Do) * I Got Rhythm * I'll Be Seeing You * In the Mood * The Lady Is a Tramp * Love Is Here to Stay * Mood Indigo * My Funny Valentine * The Nearness of You * Over the Rainbow * Sing, Sing, Sing * Summertime * Thanks for the Memory * The Very Thought of You * The Way You Look Tonight * and more.

SKU: BT.AMP-494-010

English-German-French-Dutch.

March of the Robot Army was commissioned by Linda Anzolin & Giordano-Bruno Tedeschi for Campobanda 2019, with funds made available by JUST ITALIA. Campobanda is an Italian summer music camp for 8- to 18-year-olds (held inCamposilvano in 2019) which has a different theme every year. The theme for 2019 was ‘science fiction’, so composer Philip Sparke chose to write a robot march. After a quirky introduction featuring trumpet calls and chromaticfigures, the main theme appears in a minor mode on clarinet and tenor sax and is then taken up by the full band. A change of key heralds a new theme, led by the trumpet and again repeated by the full ensemble. A further change ofkey introduces a legato ‘trio’ melody over a rather robotic accompaniment: instruments are added bit by bit until a climax is reached. Small motifs from the introduction then lead back to a full recapitulation, revisiting thefirst two themes in new guises before finishing the march with a flourish.

March of the Robot Army werd geschreven in opdracht van Linda Anzolin & Giordano-Bruno Tedeschi voor Campobanda 2019: de financiering werd mogelijk gemaakt door JUST ITALIA. Campobanda is een Italiaans zomermuziekkamp vooracht- tot achttienjarigen (dat in 2019 werd gehouden in Camposilvano) met elk jaar een ander thema. Het thema voor 2019 was sciencefiction, dus besloot componist Philip Sparke een robotmars te schrijven. Na een grilligeinleiding met trompetsignalen en chromatische motieven verschijnt het hoofdthema in mineur op klarinet en tenorsax, waarna het door het hele orkest wordt overgenomen. Een verandering van toonsoort kondigt een nieuw thema aan, weeringeleid door de trompet en herhaald door het volledige ensemble. Een verdere toonsoortverandering introduceert een legato ‘triomelodie’ boven een nogal robotachtige begeleiding: er worden stapsgewijs instrumenten toegevoegd totde muziek uitmondt in een hoogtepunt. Korte figuren uit de inleiding nemen ons dan mee naar een volledige herneming, met een terugkeer naar de eerste twee thema’s in een nieuwe gedaante, waarna de mars in stijl wordt afgesloten.

Der March of the Robot Army wurde von Linda Anzolin und Giordano-Bruno Tedeschi für Campobanda 2019“ in Auftrag gegeben und finanziell von JUST ITALIA unterstützt. Das italienische Sommermusikcamp Campobanda für 8- bis18-Jährige fand 2019 in Camposilvano statt und hat jedes Jahr ein anderes Motto. 2019 lautete das Thema Science Fiction“, daher entschied sich der Komponist Philip Sparke dazu, einen Robotermarsch zu schreiben. Nach einerskurrilen Einleitung mit Trompetenrufen und chromatischen Figuren erklingt in Klarinetten und Tenorsaxophonen das Hauptthema in Moll, das dann vom gesamten Orchester aufgegriffen werd. Ein Tonartwechsel kündigt ein neues Thema an,das von der Trompete vorgestellt und anschließend vom gesamten Ensemble wiederholt wird. Ein weiterer Tonartwechsel führt zu einem melodischen, legato gespielten Trio-Abschnitt über einer roboterhaften Begleitung. Nach und nachkommen weitere Instrumente hinzu, bis der Höhepunkt erreicht ist. Kleine Motive aus der Einleitung führen dann zu einer Reprise, wobei die ersten beiden Themen in neuer Gestalt wieder aufgegriffen werden, bevor der Marsch zum Endehin noch einmal musikalisch aufblüht.

March of the Robot Army est une commande de Linda Anzolin et Giordano-Bruno Tedeschi pour Campobanda 2019, gr ce des fonds mis disposition par JUST ITALIA. Destinée aux jeunes de 8 18 ans, Campobanda est une école demusique d’été dont le thème change chaque année. Celui de l’édition 2019 étant « sciencefiction », Philip Sparke décida d’écrire une marche pour robots. Après une introduction insolite rassemblant appels de trompette et figureschromatiques, le premier thème apparaît dans un mode mineur la clarinette et au saxophone ténor avant d’être repris par l’orchestre entier. Un changement de tonalité annonce un nouveau thème, mené par la trompette et repris,encore une fois, par l’orchestre entier. Un autre changement de tonalité introduit une mélodie legato « en trio » sur un accompagnement quelque peu robotique : divers instruments s’y ajoutent progressivement pour aboutir unclimax. Des petits motifs tirés de l’introduction mènent une récapitulation complète qui reprend les deux premiers thèmes sous des formes différentes, avant de conclure la marche avec un bouquet final.

SKU: PR.114414480

ISBN 9781598063264. UPC: 680160597932. 9x12 inches. Key: Bb major. Transcribed by Carter Pann.

A unique collection of elegant transcriptions of Bach’s keyboard and instrumental gems scored for 10 woodwinds, with flexible scoring and ossia parts – ideal for schools and “pull-out” groups on wind ensemble concerts.
The music of Johann Sebastian Bach (1685-1750) is a gift. Nearly every piece that poured out of this man is as inspired and perfected as the next. His body of work has cut a deep incision in the recorded history of music and set a benchmark to which all the contrapuntal masters who followed have aspired to meet.The transcriptions found within this volume add to the thousands upon thousands of versions of his music already re-worked for different groups and media. The music here does not, however, embellish Bach’s own scores (save but for a couple of instances in which it was felt necessary to add an inner voice to serve the expansive range of the ten woodwinds). The selections are ordered (loosely) to assume a smooth, inclined trajectory of both difficulty and musical breadth. The first piece is a small and simpleminuet, the last is a long interior movement of one of the most beloved and advanced violin concertos in the whole repertoire.As a keyboard player I grew up learning and falling in love with much of Bach’s music at the piano. For this very reason, much of this volume consists of the composer’s keyboard works. One cannot, however, deny many of the most cherished works from Bach’s oeuvre when compiling a set of transcriptions, and many of those “hits” are included here as well.Departing from a traditional harmoniemusik ensemble, I have replaced the horns here with saxophones. There are two reasons: 1) the nature of much of this music requires instruments with an ease of agility not executable so readily on the horn; and 2) the opportunity for saxophone players to be included in such an ensemble was very attractive, pedagogically.I hope you enjoy these gems from such a great genius.