SKU: AP.40422S
UPC: 038081451169. English.
This lovely arrangement is perfect for festival or contest. Sure to be a success technically and musically with easily accessible hi 3 fingerings! This title is available in MakeMusic Cloud.
SKU: AP.49435S
ISBN 9781470650612. UPC: 038081571393. English.
A must for any regal ceremony. The traditional Pomp and Circumstance has been scored for young full orchestra, or strings alone. It includes a processional and the majestic Rondeau from Premiere Suite as the recessional. This arrangement would be an outstanding graduation choice for any level orchestra performing without graduating seniors. A welcome necessary arrangement for every library. (3:45) This title is available in MakeMusic Cloud.
SKU: AP.45832S
UPC: 038081523408. English. Traditional.
This patriotic classic, The Marines' Hymn, is sure to become a go-to piece in your library as it introduces basic march style and provides teaching opportunities! Arranged by Bob Cerulli, this stirring piece reinforces hi 2 and lo 2 while the melody moves around the orchestra. (2:10).
SKU: AP.45832
UPC: 038081523392. English. Traditional.
This patriotic classic is sure to become a go-to piece in your library as it introduces basic march style and provides teaching opportunities! Arranged by Bob Cerulli, this stirring piece reinforces hi 2 and lo 2 while the melody moves around the orchestra. (2:10).
SKU: AP.49029
ISBN 9781470645441. UPC: 038081561172. English.
Everyone's Guide to the String Orchestra, arranged by Douglas Wagner, is a fantastic selection to feature each section of the ensemble. They all have their very own time to shine in the spotlight with this uniquely scored arrangement of themes from four movements of Saint-Saëns' The Carnival of the Animals. Program as a straight-forward concert number or as a piece incorporated into a recruitment presentation. Medley titles (in order of appearance) are as follows: The Swan (cello section feature) * Lion's Royal March (viola section feature) * The Elephant (string bass section feature) * Finale (violin section feature). (3:10).
SKU: AP.49029S
ISBN 9781470645458. UPC: 038081561189. English.
SKU: AP.49893S
ISBN 9781470662370. UPC: 038081579573. English.
Christmas at the Symphony, arranged by Michael Story, is a medley of three classical holiday tunes. Although it is scored for full orchestra, this arrangement is playable by string orchestra alone or with any number of added winds or percussion. Mozart's Sleigh Ride German Dance No. 3, Tchaikovsky's The Nutcracker, and Bizet's March of the Kings are all included in this fantastic arrangement. (3:15).
SKU: AP.49893
ISBN 9781470662363. UPC: 038081579566. English.
SKU: HL.49018017
ISBN 9790001152419. 9.0x12.0x0.2 inches.
After completing his studies with Zoltan Kodaly, the Hungarian composer Mathias Seiber (1905-1960) first worked as a musician in a dance orchestra on an ocean liner which gave him the opportunity to listen to jazz music in New York. From 1928 he taught the first jazz class worldwide at Dr. Koch's Conservatoire in Frankfurt. In the winter term of 1928/29, 19 students had registered with whom he gave a public concert on 3 March 1929 which was broadcast by Radio Frankfurt. After the Nazis had seized power, the jazz class was dissolved, Seiber lost his job and emigrated to London.In 1932 he wrote his piano cycle 'Leichte Tanze' (Easy Dances), one of the early examples of the adoption of jazz forms and styles in so-called serious music. The present arrangement for orchestra is easily playable and is aimed at youth and amateur orchestras. Instrumentation: 2 flutes, clarinet, oboe (ad lib.), alto saxophone, trumpet, bassoon and strings. Movements: Cake Walk - Novelty Foxtrot - Gipsy Tango - Waltz - Walzer - Blues - Charleston.
SKU: AP.BSO00100C
UPC: 029156048827. English.
This suite has four movements: March, Waltz, Ballad, and Allegro. This is typical Washburn, and the contrast of the movements of the suite provides interest for performer and audience alike. Appealing but not difficult.
SKU: HL.49001681
ISBN 9790001023115. 9.0x12.0x0.196 inches.
Muffat, pupil of Lully and Corelli, composed his concerto 'Victoria Maesta' ('Sad Victory') in 1689 as organist and chamber musician in the court of the archbishop of Salzburg. The title refers to the taking of Belgrad during which the archbishop's brother was killed in 1688; therefore the piece begins with a solemn funeral march in C minor, in elaborate and artistic contrapuntal technique in the sense of Corelli's adagio type.
SKU: AP.45892S
UPC: 038081526546. English. Traditional American.
Imagining the Alaska Klondike gold rush calls up visions of fortune seekers, turn-of-the-century dance halls, and adventure! Klondike Fiddles captures those moods in a medley of two authentic fiddle tunes from that by-gone era by Andrew H. Dabczynski. These delightful melodies---March of the Gold Miners and Crooked Stovepipe---fall under the fingers of intermediate string students, with interesting parts for all players, body percussion sounds, and challenging optional improvisation opportunities. Here's a piece that complements any concert program and will have the players and audience tapping their toes! (3:50).
SKU: AP.45892
UPC: 038081526539. English. Traditional American.
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
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