SKU: PR.11540233L

ISBN 9781491129418. UPC: 680160674367. 11 x 14 inches.

At Her Ladyship's Request (2016) was an idea born out of admiration for the wind works of Percy Grainger - most notably his Lincolnshire Posey. The names and places here are all fictitious. Four countrymen have come forward at Her Ladyship's request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship. I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his father's fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks. II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town square...but not as of late. III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway? IV. Pettybone! Conniving... insidious. I don't believe there has been a greater rivalry among men for generations. The Duke's ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll.
At Her Ladyship’s Request (2016) was an idea born out of admiration for the wind works of Percy Grainger – most notably his Lincolnshire Posey.The names and places here are all fictitious. Four countrymen have come forward at Her Ladyship’s request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship.I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his father’s fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks.II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town square…but not as of late.III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway?IV. Pettybone! Conniving… insidious. I don’t believe there has been a greater rivalry among men for generations. The Duke’s ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll.

SKU: CF.SPS78F

ISBN 9781491153239. UPC: 680160910731.

Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.
About the CompositionFestival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .

SKU: HL.49042434

ISBN 9783795794491. 10.25x13.5x1.141 inches. German.

Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.