SKU: SU.80111202
Violin & Clarinet Duration: ' Composed: 1972 Published by: Soundspells Productions Includes set of 2 scores The Garden of My Father's House (1973) is a dramatic rhapsody for violin and clarinet duo. The composer wrote the following: I composed THE GARDEN OF MY FATHER'S HOUSE in 1972 in memory of my father, who was my first music teacher. Although he played many instruments and loved to sing, he could not read a note of music. When I was very young he would sing Gypsy songs, Yiddish folk-songs and Rumanian tunes to me and I would play them back on my clarinet, often with ornaments and variations. Sometimes he would accompany me on the piano; he had a few favorite chords which always seemed to pop up no matter what the tune. The piece is a musical ritual, based on a C-sharp drone, or pedal note, that is heard without interruption, across several ranges, throughout the piece. The violin's drone tremolos, often combined with perfect fifths and quarter-tone tunings, imply the key of Csharp minor. The violin part is always rubato — lyrical, expressive and frequently very passionate. But, most importantly, the violin is always tonal. The clarinet, on the other hand, is atonal, its pitches drawn from the twelve-tone row that I used to write my Cycles of Infinities. The style of the clarinet is contemporary, using wide-range intervals, biting accents and unusual instrumental effects, including fluttertonguing and quarter-tone trills. In combining the 'contrasting' roles of the two instruments, I sought to create a musical ritual-game that would draw energy and bits of information from the polarized instruments. The language of the piece calls the listener's attention to the cogent features of both instrumental personalities in a manner that is somewhat similar to the way in which Yiddish combines German and Hebrew. The drone becomes more and more magnetic and begins to join the parts together until they become one in the final C-sharp unison.
SKU: CF.CAS75
ISBN 9780825894763. UPC: 798408094768. 9 x 12 inches. Key: Eb minor.
This action packed piece has a definite cinematic quality to it, and a title to match! Popular composer Sean O'Loughlin brings a wealth of musical sophistication to this contest/festival choice.Phantom’s Escape draws its title from a ski run at Mammoth mountain near Yosemite National Park in the Sierra Mountains. While skiing there, the name inspired me to create some original music with its roots in modern film scoring. The composition is in a traditional ABA form with contrasting sections. The music is both aggressive and passionate and provides some great teaching elements for the more mature string orchestra. At the beginning of the piece, the pulsing in the low voices sets the stage for the drama to come. I have always loved the pairing of eighth-note triplets and standard eighth notes in the same line. This is evident in the melodic element in the section starting at m. 7. Be sure not to rush the triplets here. A dramatic pulsing figure takes over at m. 21, then begins to deconstruct at m. 25.A mechanical-like rhythmic figure ensues at m. 31 to provide the accompaniment to the main melody in augmentation in the celli. The violas add some imitation to this at m. 39 that leads us to a more lyrical passage at m. 46. This lyricism continues to evolve at m. 51 with a multitude of inner counterpoint lines. The music pulls back at m. 59 to set up the big build-up into m. 73. The combination of eighth notes, eighth-note triplets and sixteenth notes creates some exciting textures leading into the passionate section at m. 73. The opening section returns at m. 86. This builds into the unison gesture at m. 120 to bring the music to a dramatic conclusion.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: GI.G-017074
Keeping Advent in a school or parish is challenging, especially when the surrounding culture begins the celebration of Christmas earlier and earlier each year. Creation to Christmas is a wonderful tool to remind all involved that the anticipation of the season is for someone, not some thing.  This Advent program is rich in both musical and catechetical content as it teaches students not only about salvation history but music history as well, incorporating various spirituals throughout the program. Everything your community needs to prepare this program is provided here: a full script with keyboard or guitar arrangements of the songs, director’s notes, templates for the Jesse Tree ornaments, and necessary participation forms, with reprintable elements provided on the included CD-ROM. Sure to become a well-loved tradition year after year!
SKU: XC.SATB2210A
9 x 6 inches.
Russell Robinson has written a fresh and accessible arrangement in an a cappella SATB voicing of Charles Tindley’s original 1905 hymn, Stand by Me. It begins with unison voices and moves on to lush harmonies that choral groups and directors have come to expect from Russ. The second verse features a solo with beautiful harmonies for the supportive other voices. In addition to S/A sections and T/B features. There are plenty of opportunities for dynamic and rubato interpretation throughout the work. And, certainly, Tindley’s text is as timely for us today as it was in the early 1900’s, e.g., When the storms of life are raging, stand by me. The beauty of this arrangement will be loved by you and your choirs.
SKU: HP.C5108O
UPC: 763628451080.
Medley of two familiar hymn tunes by Stuart K. Hine and Jack Hayford In this blending of two well-loved pieces from two different eras, Joel Raney interweaves the themes between voices and piano, creating the illusion that the two pieces were meant to be heard simultaneously. The medley begins lyrically and builds to a powerful presentation of the final stanza of How Great Thou Art. For SATB or SAB choir and piano, with optional four-hand piano accompaniment.
SKU: BT.YE0001
It was a chance visit to a second hand bookshop in Nottingham that set me on the trail of Rossini's now well-known Duetto for cello and double bass. But the story begins earlier than that. In the 1960s I was studying the double bass at the Royal College of Music with Adrian Beers, who was at that time principal of the English Chamber Orchestra, on the front desk of the Philharmonia Orchestra, and a member of the Melos Ensemble of London (then one of the leading ensembles of the world). I was working on the 'Dragonetti Concerto', as most young players do, and I wanted to find out a bit about it. My teacher said he thought the autograph manuscript might be in the British Library,which was all the encouragement I needed to secure a pass to the Reading Room so I could go and see for myself. There, sure enough, I found a large collection of Dragonetti's autograph manuscripts, together with other bound volumes relating to his life. The papers had been lovingly collated and annotated by Vincent Novello, one of Dragonetti's closest friends, then deposited in the library before his departure to Italy in 1848, two years after Dragonetti's death. One of the volumes included a lot of letters about various engagements and music festivals, copies of orders for strings Dragonetti wanted from Italy, details about paintings he wanted to buy, and numerous invitations to private functions. The manuscript of the 'Dragonetti Concerto', of course, wasn't among the papers â?? we now know it to have been written by Edouard Nanny a century or so later. One name that came up regularly in the documents was that of Sir George Smart. Smart had been a violinist in Salomon's orchestra and had played for Haydn at his London concerts in the 1790s. As a child he had learnt much about music from his father, who had in turn been present at many of Handel's rehearsals when he was preparing some of his major works for the first time. Smart was also a fine keyboard player, becoming organist of the Chapel Royal in 1822. As a conductor.
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