SKU: BT.ALHE31448
French.
Richard Wagner: Ouverture de 'The Mastersingers of Nuremberg' (PH48) (Orchestra).
SKU: BT.ALHE31761
Richard Wagner: Ouverture de 'Die Feen' (PH286) (Orchestra).
SKU: AP.49925S
ISBN 9781470662356. UPC: 038081579559. English.
Faithful to the original, Richard Meyer's arrangement of Dance No. 7 retains Dvorák's bold and brilliant orchestration, with exciting and meaningful parts for every instrument. Your students and audience will love the immediately appealing melodies, the delightful shifts from major to minor modes, and the imaginative canonic effects that permeate this work. (3:30).
SKU: AP.48102S
ISBN 9781470657499. UPC: 038081555249. English.
Habanera from Carmen by Georges Bizet, arranged by Richard Meyer, will give your students an opportunity to perform one of the most familiar scenes from that famous opera. In this authentic sounding and very playable arrangement, the tune is passed from section to section to keep everyone involved, and the simple chromatic lines, changes in key signature, and frequent dynamic contrasts provide great teaching opportunities. Multiple percussion parts add to the exotic texture of what is sure to become one of your students' favorite selections! (3:30) This title available in MakeMusic Cloud.
SKU: HL.48187745
UPC: 888680868116. 5.5x7.5x0.247 inches.
Richard Wagner: The Ride Of The Valkyries (Miniature Score).
SKU: AP.49055S
ISBN 9781470645694. UPC: 038081564173. English.
It's Mozart with a Latin twist! Viva Amadeus!, arranged by Richard Meyer, is a charming reworking of Eine Kleine Nachtmusik. It is sure to make your audience smile while providing your students with opportunities to work on syncopations and south of the border dance rhythms. Fun for everyone, as all the sections take turns stepping into the melodic spotlight. Latin percussion parts add to the cha-cha feel of this irresistible celebration. Olé! (3:15).
SKU: BT.ALHE31432
Richard Wagner: Ouverture de 'Tannhäuser' (PH32) (Orchestra).
SKU: AP.44829S
UPC: 038081518190. English.
It's a fiesta for your basses in this colorful section feature that your students will love putting together. Carefully written to make your bass section sound their best, this piece written by Richard Meyer starts with Chiapanecas (the famous Mexican Clapping Song) and segues into a clever 2/4 version of Cielito Lindo. The two songs are then heard simultaneously, bringing this mini concerto to a rousing conclusion. ¡Olé! (2:30).
SKU: BT.ALHE31431
Richard Wagner: Siegfried Idyll (PH31) (Orchestra).
SKU: AP.48102
ISBN 9781470657482. UPC: 038081555232. English.
Habanera from Carmen by Georges Bizet, arranged by Richard Meyer, will give your students an opportunity to perform one of the most familiar scenes from that famous opera. In this authentic sounding and very playable arrangement, the tune is passed from section to section to keep everyone involved, and the simple chromatic lines, changes in key signature, and frequent dynamic contrasts provide great teaching opportunities. Multiple percussion parts add to the exotic texture of what is sure to become one of your students' favorite selections! (3:30) This title is available in MakeMusic Cloud.
SKU: BR.PB-5710
ISBN 9790004216477. 10.5 x 14 inches.
Richard Strauss's last completed tone poem is regarded as the pinnacle of his art of orchestration: Now I've finally learned to orchestrate, he himself is once supposed to have said about it after the dress rehearsal. The single-movement Alpine symphony that we know today ultimately evolved - over almost 15 years - from the original drafts of an artist's tragedy, titled Der Antichrist. Eine Alpensinfonie [The Antichrist. An Alpine Symphony] up to the stage of the last sketches. With unprecedented plasticity, the work showcases a (metaphysical?) mountain hike with stops in the forest, at the waterfall, on the alpine pasture and, of course, at the summit. Apropos alpine pastures: up to the score's fair copy stage, Strauss envisaged a high and a low alphorn for the section Auf der Alm [On the Alpine Pasture] and the well-known Dulioh theme, though for various reasons first detailed in our new Urtext edition, these exotic instruments did not find their way into the printed version. In the new edition, the editor, Nick Pfefferkorn, reproduces the alphorn passages in small print, also adding two alphorn parts to the performance material, besides evaluating the corrections made by Walter Seifert at Strauss's request.First Urtext edition since the first editionEvaluation of all available sources, including sketches and the score corrected by Walter Seifert Extensive preface on the work's compositional history and receptionDetailed Critical ReportFacsimile pages.
SKU: AP.49055
ISBN 9781470645687. UPC: 038081564166. English.
It's Mozart with a Latin twist! Viva Amadeus!, arranged by Richard Meyer, is a charming reworking of Eine Kleine Nachtmusik. It is sure to make your audience smile while providing your students with opportunities to work on syncopation and south of the border dance rhythms. Fun for everyone, as all the sections take turns stepping into the melodic spotlight. Latin percussion parts add to the cha-cha feel of this irresistible celebration. Olé! (3:15).
SKU: LO.30-3008L
UPC: 000308136258.
Cindy Berry captures the wonder of the Creator God and the majesty of His presence and strength--yesterday, today, and tomorrow--in God Spoke! Brilliant original music combines with the beloved AUSTRIAN HYMN in this beautiful setting. Ochestration by Richard Nichols for 2 Hn, 3 Tpt, 2 Tbn, Tuba, 2 Perc, Pno, 2 Vln, Vla, Cello, Bass.
SKU: WD.080689111396
UPC: 080689111396.
About Coronation Series
Coronation Series Instrumentation:Woodwinds: 2 Flute, Oboe, 2 Clarinet, Bass Clarinet (doubles Tuba), Alto Sax (doubles French Horn), Tenor Sax/Baritone T.C. (doubles Trombone,) - All charts released since 3/1/02 include a Bari Sax part that doubles Tuba.Brass: 2 French Horn, 3 Trumpet, 3 Trombone, TubaPercussion:PercussionStrings: 2 Violin*, Viola* Cello/Bassoon, String Bass*simplified parts includedAdditional Parts: Harp, Rhythm, String Reduction
SKU: HL.49047172
UPC: 196288143406.
When the 24-year-old Richard Strauss, assistant conductor in Munich, began the composition of his third tone poem in the summer of 1888, he saw himself close to the aspiration prescribed by his mentor Alexander Ritter: to become the successor of Richard Wagner as a musical dramatist. Strauss had already been working on the text of his first opera Guntram for a year and additionally devoted himself to programmatic orchestral works oriented to the musical language of Liszt and Wagner in order to prepare himself compositionally for his new task. With the aid of Strauss and other musicians including Ludwig Thuille and Friedrich Rösch who had been gathering for “Ritter's round table†in Munich between 1886 and 1889, RitterÂ’s intention was to achieve success on a broad front with the New German School following the death of its two protagonists Wagner and Liszt. We do not know whether Ritter and his supporters jointly planned Strauss's compositional path towards opera, determined the subjectsof his prospective tone poems and considered various strategies of their musical realization, but the influence of this group shouldnot be underestimated. It cannot be ruled out that the number of three tone poems was fixed, as was their sequence of composition, which would progressively achieve its zenith in an increasing orientation to Liszt and Wagner. The circle could possibly have also discussed initial links to literary subjects (Macbeth and Don Juan) and ultimately the abstention from this practice in the third and final tone poem. The subject of the work, or rather in StraussÂ’s formulation its “poetic modelâ€, has occasionally been interpreted from an autobiographical aspect. Strauss however did not experience serious illness until May 1891 and once more in June 1892, long after Tod und Verklärung had been composed. Even without an external reason, the material would have been only too attractive for an admirer of Wagner and Liszt like Strauss, not to mention for his mentor Alexander Ritter. The concept of 'death and transfiguration' had already played a central role in LisztÂ’s symphonic poems Tasso and Prometheus.
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