SKU: PR.114424240

ISBN 9781491137581. UPC: 680160691036.

THE BONES OF MR. FORTUNE (FREE AT LAST!) is an 11-minute concerto-like work for solo flute accompanied by symphonic winds and percussion – perfect to play with band or with orchestra, as well as with the composer’s own piano reduction. The work features lengthy cadenzas, and exhilarating dance-like sections with the ensemble. Hailstork describes the historical inspiration: Abused in life and death, an enslaved man (Mr. Fortune) was owned by a surgeon who preserved his skeleton to study anatomy. The bones remained with the doctor’s family for generations, and were given a proper burial making national news in 2013, 215 years after Mr. Fortune’s death.
Abused in life and death, an enslaved man known as Mr. Fortune was honored with an elaborate funeral more than 200 years after he died in Connecticut.Mr. Fortune was owned by Dr. Preserved Porter on a farm in Waterbury, Connecticut. When Fortune died in 1798, Porter, a bone surgeon, preserved his skeleton by having the bones boiled to study anatomy at a time when cadavers for medical study were disproportionately taken from slaves, servants and prisoners.One of Porter’s descendants gave the skeleton in 1933 to Mattatuck Museum in Waterbury, where it was displayed from the 1940s until 1970. The descendant referred to the slave as “Larry” and his name was forgotten at the time.A study by forensic anthropologists at the Quinnipiac University School of Medicine concluded that Fortune was about 5 feet 5 inches tall and died at around 55 years old. He suffered a number of painful ailments, including a fracture in his left hand, a severe ankle sprain and lower back pain. “He was an individual who was in considerable distress,” a forensic professor, Richard Gonzalez said.I was taken by the bizarre story of Mr. Fortune and decided to use it as the stimulus for this work.

SKU: HL.1438561

ISBN 9798350123715. UPC: 196288204916.

The '80s brought on an electrifying surge of musical innovation, marked by the rise of genres such as synth-pop, hair metal, and the early beginnings of hip-hop. This dynamic period was distinguished by the revolutionary influence of MTV, which changed the way we consume music and turned musicians in visual legends. The decade's spirited vibe made a lasting impact on the music scene, etching its presence into the cultural fabric forever. Grab your hairspray and teasing comb and jump into this new Super Easy songbook, featuring 46 simple arrangements of the decade's best to start playing your favorite songs in no time! Each song is arranged with simple right-hand melody, letter names inside each note, basic left-hand chord diagrams, and no page turns. Songs include: Africa • All Outof Love • Beat It • Danger Zone • Don't Dream It's Over • Ebony and Ivory • Everybody Wants to Rule the World • Flashdance... What a Feeling • Footloose • Girls Just Want to Have Fun • Higher Love • Hurts so Good • Into the Air Tonight • Jump • Owner of a Lonely Heart • Running Up That Hill • Sweet Dreams (Are Made of This) • Total Eclipse of the Heart • You're the Inspiration • and more!

SKU: CF.B3470

ISBN 9781491159460. UPC: 680160918058.

The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.
What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry’s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.”Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Œ = 60), Moderate (Œ = 84) and Fast (Œ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.

SKU: BT.GOB-000401-130

The composition the Lonesome Knight was based on a fairytale. The piece was written by Saskia Apon for the National Brass Band Championships 2001.

Once upon a time there was a knight who went to fight and defeat the dragon that had beenkilling the people of his town.
There is a short but intense battle between the two and the knight is triumphant. However whilst persuing the dragon the knight has travelled far away from his home and now is lost. He roames around trying to findhis way home, but exhausted and weary he falls to the ground. He awakens startled by a Giant and a group of Goblins who are celebrating the death of the dragon.
The knight joins in the festivities but after a long evening is once more leftalone.
The sun rises the following morning and he sees a castle on the horizon. He enthousiastcally ventures towards the castle in the hope of meeting other people.
However he becomes greatly disillusioned when there is none to be found. Inhis desperation the knight climbs the tower ready to jump off.
Suddenly he hears a heavenly voice. Right before him is the most beautiful princess he has ever seen. She graciously thanks him for killing the dragon, a spark ingnites between themand they build a life together and.... live happily ever after!

Saskia Apon studied harp at Rotterdam School of music. With this instrument she rounded of her studies by passing with credit, however it was her love of composition thatremained her focus.
Self-taught, she began composing at the age of nine. Since then she has written pieces for The Dutch Brass Quintet, The Dutch Brass Ensemble, The Rotterdam Trombone Quartet and the brass band quintet Brass Ability.
Atpresent she is the in-house arranger for The Rotterdam Philarmonic Brass Ensemble.
Besides the customary attention for the real splashworks she endeavours to add value to the melodic function of the brass wind instruments in her music. Hercompositions and arrangements can be found on many diverse Cds.The composition the Lonesome Knight was based on a fairytale. The piece was written by Saskia Apon for the National Brass Band Championships 2001.

Once upon a time there was aknight who went to fight and defeat the dragon that had been killing the people of his town.
There is a short but intense battle between the two and the knight is triumphant. However whilst persuing the dragon the knight has travelled far awayfrom his home and now is lost. He roames around trying to find his way home, but exhausted and weary he falls to the ground. He awakens startled by a Giant and a group of Goblins who are celebrating the death of the dragon.
The knight joins inthe festivities but after a long evening is once more left alone.
The sun rises the following morning and he sees a castle on the horizon. He enthousiastcally ventures towards the castle in the hope of meeting other people.
However he becomesgreatly disillusioned when there is none to be found. In his desperation the knight climbs the tower ready to jump off.
Suddenly he hears a heavenly voice. Right before him is the most beautiful princess he has ever seen. She graciously thankshim for killing the dragon, a spark ingnites between them and they build a life together and.... live happily ever after!

Saskia Apon studied harp at Rotterdam School of music. With this instrument she rounded of her studies by passing withcredit, however it was her love of composition that remained her focus.
Self-taught, she began composing at the age of nine. Since then she has written pieces for The Dutch Brass Quintet, The Dutch Brass Ensemble, The Rotterdam Trombone Quartetand the brass band quintet Brass Ability.
At present she is the in-house arranger for The Rotterdam Philarmonic Brass Ensemble.
Besides the customary attention for the real splashworks she endeavours to add value to the melodic functionof the brass wind instruments in her music. Her compositions and arrangements can be found on many diverse Cds.

Gobelin Music Publications.

SKU: BR.EB-9387

ISBN 9790004188576. 0 x 0 inches.

Commissioned by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.

SKU: HL.4007645

UPC: 196288074915. 9.0x12.0 inches.

This composition is based on the life of the German cavalry general Hans Michael Elias von Obentraut (1574-1625), who was known for his nerve, loyalty and courage. The figure Van Obentraut is closely connected to the town of Seelze, where he died a heroic death and where a monument was erected in his honor. The work consists of four movements in which various aspects of this historical figure are featured. What is extra special about this work is the fact that its firs movement (Hymn for a Hero) had been made available as an easy version for flexible band. This makes it possible for a youth of beginner band to play along with a band of adults or advanced players. This hymn can also be played as a separate piece.