Chamber Music Piano

SKU: PR.110418480

Composed by Chen Yi. Performance Score. Duration 6 minutes. Theodore Presser Company #110-41848. Published by Theodore Presser Company (PR.110418480).

ISBN 9781491136294. UPC: 680160688784.

Chen Yi’s beautiful and highly-textured tone poem was inspired by ancient Chinese poetry; its melodic ideas were developed from musical phrases characteristic of Chinese opera. Wang Ya’s original verse as translated by Chen Yi reads:“SONG OF SPRING OUTING”Ten thousand apricot trees by the riverside,Spring flowers bloom after the wind at night.Covered over the garden, colors dark and light,Mirrored in the green water ripples.
SONG OF SPRING OUTING was commissioned by the Center for East Asian Studies and the Asian Classical Music Initiative at the University of Kansas in 2022 for Dr. Yi-Yang Chen to premiere in 2023.The work was inspired by an ancient Chinese poem with the same title:Song of Spring Outingby Wang Ya (Tang Dynasty)English translation by Chen YiTen thousand apricot trees by the riverside,Spring flowers bloom after the wind at night.Covered over the garden, colors dark and light,Mirrored in the green water ripples.This inspiring image is like taking a walk through a beautiful garden with layers of colorful trees and flowers, mirrored in the green water.The opening phrase of the music introduces the signature intervals, the leap of a seventh found in Beijing Opera fiddle’s language, followed by melodic material with a major 2nd and perfect 4th in pentatonic style as the thematic materials. [C-Bb-G in bars 1-2, followed by the top pitches A-B and Ab-E( in bars 2-3]. This statement is brought back (Rehearsal F) in a retrograded form of the introduction at the climatic end of the piece.The musical form is a combination of variations on thematic materials, and a rondo. After the introductory section, Rehearsal A introduces an improvisation-like mountain song melody (developed from the pentatonic material in the introduction).Rehearsal B brings in a lively texture in short groupings with staccato in both hands (using the seventh leap interval introduced in the opening of the piece).Rehearsals C and D develop the introduction’s pentatonic melody and the mountain tune (introduced in Rehearsal A) with more layers in the texture.Rehearsal E develops the material presented in Rehearsal B, with an extended range in both ends of the keyboard, increasing the freshness and excitement.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Cello, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Piccolo, Timpani, Trombone 1, Trombone 2 and more.

SKU: PR.11642007L

Four Symphonic Sketches. Composed by Samuel Adler. Large Score. 68+5+7+6+6+6+6+6+6+5+6+6+6+6+6+6+6+6+7+6+7+6+6+6+6+7+7+7+7+7+7+7 pages. Duration 14 minutes. Theodore Presser Company #116-42007L. Published by Theodore Presser Company (PR.11642007L).

UPC: 680160688715.

By David Philip Hefti. For Violin, Cello, Piano. Modern. Duration circa 25 minutes. Published by Edition Kunzelmann.

Piano

SKU: ST.Y215

Composed by Morgan Hayes. 6 minutes. Score. Stainer & Bell Ltd. #Y215. Published by Stainer & Bell Ltd. (ST.Y215).

ISBN 9790220221309.

1st perf: Sarah Nicolls, The Warehouse, London, 12 December 2003

Lute Stop, inspired by the legendary playing of Glen Gould and Alexis Weissenberg, is the latest bravura solo from Morgan Hayes, an outstanding young British composer of piano music. The interpretative style of these performers, favouring a block-like rather than a nuanced approach to dynamics, is mirrored in the formal aspect of the piece and the extreme dynamic contrasts of its material. Sudden shifts in register, octave doublings and quiet left-hand punctuations also feature prominently in the textures, suggesting changes of registration on a harpsichord - hence the title.

(duet for multipercussion). By Jamieson Carr. Multipercussion Duet. For Concert bass drum, 2 concert snare drums, 2 sets of bongos, 2 woodblocks (or jam blocks), 2 cowbells, 2 splash cymbals, 2 opera gongs (2 players). Percussion Duets. Medium. Score and CD-ROM (containing printable parts). 20 pages. Duration 7'00 . Published by Tapspace Publications

By Donald Martino (1931-2005). For Bass Voice and Piano. This edition: Bass Voice and Piano. Contemporary Classical. Contemporary Classical. Conservatory. Sheet Music

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 3 trumpets, timpani, 2 violins, viola, basso continuo

SKU: CA.3101109

Ascension oratorio. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. This edition: urtext. 1x 31.011/21 flute 1, 1x 31.011/22 flute 2, 1x 31.011/23 oboe 1, 1x 31.011/24 oboe 2, 4x 31.011/31 3 trumpets and timpani. Stuttgart Urtext Edition: Bach vocal. German title: Himmelfahrtsoratorium /31 4 x liefern = 8. Innovative practice aids, Sacred vocal music, Cantatas, Oratorios, Ascension. Set of Orchestra Parts. Composed 1735. BWV 11. 56 pages. Duration 32 minutes. Carus Verlag #CV 31.011/09. Published by Carus Verlag (CA.3101109).

ISBN 9790007042028. Key: D major. Language: German.

Besides the Weihnachtsoratorium BVW 248, Bach composed an additional work for the feast days of the church year 1734/35: The Himmelfahrtsoratorium BWV 11 (Ascension Oratorio). Although in its dimensions and character the oratorio is akin to his cantatas, it occupies a special position as a result of the epic text on which it is based; the text includes a biblical story. In particular, the festive atmosphere and instrumentation of the opening and closing choruses mirror the triumphant joy of Christ's ascension. This is a new edition in the Stuttgart Bach Editions series, edited by Ulrich Leisinger. Score and parts available separately - see item CA.3101100.

Choral TTBB choir

SKU: PR.312416820

Men's Chorus (10 Copies). Composed by Chen Yi. Choral part(s). With Standard notation. 480 pages. Duration 17 minutes. Theodore Presser Company #312-41682. Published by Theodore Presser Company (PR.312416820).

UPC: 680160050376. 8.5 x 11 inches.

Chen Yi’s most performed and most beloved choral music is a series of 10 Chinese folk songs adapted for S.A.T.B. Chorus (published in 3 volumes: 312-41731, 312-41732, 312-41733). This special version is a setting of the familiar collection, adapted for children’s chorus and strings.
Remembering when I studied composition in the Central Conservatory of Music in Beijing, I learned to sing hundreds of Chinese folk songs collected from more than twenty provinces and fifty ethnic groups, and went to countryside to collect original folk music every year.  I got to know that the folk songs are a mirror of people’s daily lives, their thoughts and sentiments, local customs and manners.  They are sung in regional dialects and use the idioms of everyday speech with their particular intonations, accents and cadences.  This correlation between speech and music distinguishes folk songs of one region from another.  I learned all songs by heart and sang them back in the exams every week.  They melted in my blood and became my natural music language.  The more I walk into the music life,the more I treasure the rich culture I have learned from my homeland. When I became the Composer-in-Residence of Chanticleer and was invited to write the first work for its concert program, as well as another version for its Singing-In-The-Schools program, I decided to introduce A Set of Chinese Folk Songs to my American audiences, and add a new flavor to Chanticleer’srich repertoire.  The work includes ten folk songs, taken from eight provinces (Anhui, Shaanxi, Yunnan, Shanxi, Taiwan, Sinkiang, Jiangsu and Guizhou) and five ethnic groups (Han, Hasake, Uighur, Miao and Yi).  I arranged them for choirs (men’s or children’s chorus) with various combinations in voices, to be sung mostly in Chinese, some in English.   From the mysterious mountain songs originally sung in the open air with high and long notes that can carry over great distances, the sweet and delicate melodies of young love compared with nature, the humorous antiphony by little children, and the lively dancing tune by villagers, you may get an idea of various music styles in Chinese folk songs according to geographic, ethnic and linguistic differences, and appreciate the beauty of the Chinese folk music.  The pure choir sound and the sophisticated singing by Chanticleer, in terms of pitches, language and musical expressions, really attract and inspire me to create some more new works in the years to come.  In thisedition of A Set of Chinese Folk Songs for standard SATB mixed choir (with piano rehearsal score), I divided these ten songs into three volumes.  They are Fengyang Song, The Flowing Stream, Guessing, Thinking of My Darling, Mayila, Jasmine Flower, Riding on a Mule, Awariguli, Diu Diu Deng, andMountain Song and Dancing Tune.—Chen Yi.

Orchestra Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Piano - Grade 3

SKU: CF.CAS95

Composed by Jan Sweelinck. Arranged by Bud Caputo. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. With Standard notation. 16+4+16+10+10+10+4+12 pages. Duration 3 minutes, 38 seconds. Carl Fischer Music #CAS95. Published by Carl Fischer Music (CF.CAS95).

ISBN 9781491142141. UPC: 680160630202. Key: G major.

Hodie Christus Natus Est, by Jan Pieters Sweelinck (1562-1621), is an extremely popular Renaissance a cappella choral work that has been transcribed for string orchestra. Although the work is usually associated with the Christmas season, it is a timeless piece that can be programmed at anytime during the school year.
Hodie Christus Natus Est by Jan Pieterszoon Sweelinck (1562-1621) is an extremely popular Renaissance a cappella choral work that has been transcribed for string orchestra. Although the work is usually associated with the Christmas season, it is a timeless piece that can be programmed at any time during the school year. The string parts mirror the voice parts, but are in the more comfortable key of G major, rather than the original B≤ major. String teachers may want to consult with their choral counterparts to determine if combining their groups might provide a unique experience for all of their students.All the string parts remain in first position. The work contains the less common alternating meters of ëand ò, and will provide students with insight into the unique rhythmic style of the Renaissance period. A piano part is included for rehearsal purposes.Performance suggestions: By listening to a recording of the original vocal performance and focusing on the lyrics, students will understand where to use a connected legato bowing style for running eighth-note passages and for the longer note durations, as expressed in the lyric “Ho-di-e, Ho-di-e” that alternates with a light detached style “No-e, No –e, No-e.” A most recent YouTube link is suggested here: www.youtube.com/watch?v=B2rAkZE5UU0.

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:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians