SKU: CA.2703549
ISBN 9790007023256. Key: C major. Language: Latin.
Of the 19 Masses by Dittersdorf which have been handed down, the present Mass, which is being published for the first time, enjoyed a special popularity during the composer's lifetime and it was even performed for the coronation of emperor Franz II in the Frankfurt Cathedral. This solemn, prestigious Mass shows evidence of choral movements in traditional contrapuntal church style as well solo parts with a modern, cantabile character. In addition, the Gloria includes a lengthy virtuosic violin solo, which also lends the work a concertante character (Dittersdorf was a professional violinist). Score and part available separately - see item CA.2703500.
SKU: BT.DHP-1125313-140
9x12 inches. English-German-French-Dutch.
Sa Música - ‘Our Music’ - is the music from Mallorca, an island with a long and difficult past. The work tells of the Greeks, who once erected a temple on the island; of the Romans who occupied the island; and of traditional processions that continue to take place. A Spanish fiesta and a lyrical section, which is inspired by a famous pirate poem, bring this work to a close with Spanish flair. This theme can also be sung in the original Spanish with one or more singers or choir (available separately: DHP 1125313-050).Sa Música, ‘Haar’ muziek, de muziek van Mallorca, een eiland met een bewogen geschiedenis. Het werk verhaalt van de Grieken die een tempel oprichtten op het eiland. En van de Romeinen die het eiland bezetten. Maar ook van de traditionele rooms-katholieke processies die daar nog steeds in ere worden gehouden. Een Spaanse fiesta en een lyrisch deel, gebaseerd op een beroemd piratengedicht, besluit dit werk met Spaanse flair. Dit thema kan worden gewzongen in het Spaans, met een of meer zangers/zangeressen of een koor (koorpartijen zijn separaat verkrijgbaar: DHP 1125313-050).Sa Música - ‘Ihre Musik’ - ist die Musik der Insel Mallorca, die auf eine bewegte Geschichte zurückblicken kann. Das Werk erzählt von den Griechen, die einst einen Tempel auf der Insel errichteten, von den Römern, die die Insel besetzten und von den traditionellen Prozessionen, die heute noch in Ehren gehalten werden. Eine spanische Fiesta und ein lyrischer Teil, der von einem berühmten Piratengedicht inspiriert ist, runden dieses Werk mit spanischem Flair ab. Dieses Thema kann auch von einem oder mehreren Sängern oder einem Chor zum originalen spanischen Text gesungen werden. Chorstimmen erhältlich: DHP 1125313-050.Sa Música évoque l’histoire et l’ambiance de l’île espagnole de Majorque, l’une des îles Baléares. L’oeuvre débute avec une introduction majestueuse s’inspirant de motifs grecs. Peu peu, les influences espagnoles se distinguent clairement dans le thème rapide qui vient ensuite, une véritable fiesta. A cette ambiance festive succède le calme, avec un lent passage lyrique que Jacob de Haan a composé sur le texte du célèbre poème sur les pirates, Canción del pirata. Une pièce pétillante ! Ce thème peut être interprété dans sa version espagnole d'origine ou chanté par un ou plusieurs chanteurs ou un choeur (voix disponibles séparément: DHP 1125313-050).Sa Música si ispira alla storia e alle atmosfere dell’isola di Mallorca nell’arcipelago delle Baleari. Il brano apre con una maestosa introduzione che vuole ricordare le gesta dei colonizzatori greci; segue un tema che riprende le tradizionali processioni che si tengono sull’isola e che anticipa un tema tipicamente spagnolo. A questa atmosfera festiva segue la calma con un passaggio lirico che Jacob de Haan ha composto sul testo del celebre poema Cancion del pirata. (This theme can also be sung in the original Spanish with one or more singers or choir (available separately: DHP 1125313-050)).
SKU: GI.G-7376
UPC: 785147737605. English. Text Source: Charles Wesley, 1707–1788, alt. Text by Charles Wesley.
A reflective composition that is not challenging and features an attractive part for a soloist at the beginning and end. The men’s parts provide a supportive, gently rocking accompaniment throughout, except for a unison verse and a lovely 4-part a cappella verse. This is a wonderful new tune to pair with Wesley’s timeless text when you want to venture beyond the traditional pairings (e.g., HYFRYDOL, STUTTGART).
SKU: CF.CM9564
ISBN 9781491153628. UPC: 680160911127. 6.75 x 10.5 inches. Key: A minor. Latin. Traditional Latin.
SKU: FJ.ST6488
UPC: 241444422052. English.
Commissioned by the National String Project Consortium, this gorgeous lyrical work can be performed alone as an intermediate level piece, or with multi-level supplemental parts (available separately) for beginning and developing string students. Orchestrated to celebrate inclusion and diversity, the multi-level option is designed to sound far greater than the intermediate version alone. Not your traditional festival orchestra piece by any means.
About FJH String Orchestra
More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up
SKU: HP.2894
UPC: 763628128944.
Traditional hymn tune This enchanting Level 2 arrangement includes options to add flute and three-part, any combination, choir. A gentle plea for 'peace,' this is the perfect closer to a combined concert or poignant moment in worship during the Christmas season, or any time of year.
SKU: PR.ZM24840
SKU: CF.CM9742
ISBN 9781491161555. UPC: 680160920204. Key: E minor. English. Iyana Davis.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!
SKU: BR.EB-9243
ISBN 9790004185438. 9 x 12 inches.
It was the practice of Khoomii (throat singing) - following several workshops with Michael Ormiston - that first attracted me to Tuvan music. Composing this Songbook, the first in a series commissioned by the Ligeti Quartet, I took the chance to reflect on compositional questions around transcription and arrangement of existing music, and frequently found myself asking: where is the boundary between the source material and the new substance? Of course the relationship varies from piece to piece, and moment to moment: sometimes we seem to glimpse the pure source, but most of the time there are differing degrees of distance, working towards or away from it. This new version for string orchestra corresponds closely to the original quartet version, with an additional part for double basses.The traditional Tuvan songs that I have transcribed and recomposed are all known to me from the Ay Kherel CD The Music of Tuva: Throat Singing and Instruments from Central Asia (2004, Arc Music). According to the notes from that CD, this is what the songs are about:1. Dyngylday: If you have come on a horse in blue, it doesn't mean that you are the best. My heart tells me something else: my sweetheart doesn't have such a beautiful horse, but he is my darling.An alternative interpretation from Alash Ensemble (alashensemble.com): The word dyngylday is a nonsense term with no translation. The song makes good-humored fun of somebody for being a good-for-nothing.2. Eki Attar (The Best Steeds): The horse is the basis of our life. It is a magic creature. Even its step is full of music and rhythm. You may not be a horse rider, but when you hear this song you will always remember horses.3. Kuda Yry: This wedding song glorifies the strength of the groom and the beauty of his Horse.4. Ezir-Kara ('Black Eagle'): This was the name of a horse, who became a legend through his remarkable strength and speed.It is not just overtones that abound here: there are galloping rhythms aplenty, and though I am no horse rider I tried to keep the horses galloping in my imagination while composing these pieces.Christian Mason (with quotes from Ay Kherel and Alash Ensemble)World premiere of the original version: London/UK, May 10, 2016, World premiere of the string orchestra version: Clermont-Ferrand/France, October 8, 2020.
SKU: CF.W2657
ISBN 9780825891120. UPC: 798408091125. 9 x 12 inches.
On May 29, 1913, an over-capacity audience in Paris’ Théâtre desChamps-Élysées witnessed an historical spectacle as they became a brutecatalyst in the most (in)famous opening night of the twentieth century.The Rite of Spring premiered that evening in the midst of a riot inspiredby the overwhelming primitivism both onstage and in the score.One-hundred plus years later, the music still incites the senses. The balletwas first published in 1914 in a reduction for two pianos, and serves asa basis for this arrangement. This edition is presented in honor of thecentennial of the ballet’s premiere, and is intended to give soloists andaccompanists a chance to perform this monumental work.On May 29, 1913, an over-capacity audience in Paris’ Théâtre des Champs-Élysées witnessedan historical spectacle as they became a brute catalyst in the most (in)famous opening nightof the twentieth century. The Rite of Spring premiered that evening in the midst of a riotinspired by the overwhelming primitivism both onstage and in the score. Subtitled “Picturesof Pagan Russia,†the ancient scenes were evoked using contemporary musical innovations,shattering expectations of a more traditional Ballet Russe production.How was an ancient ritual of sacrifice to the earth to be scored? The unevolved pesantecharacter of a village gathering was portrayed by odd time signatures and accents. Melodieswere geometrically woven as dissonant pastorales with grace-notes mimicking gutturalbreaks in primal voices. Instruments were orchestrated against the grain, straining soundsinto unrecognizable timbres. And just like the dancers on stage, musicians were organizedinto alternating groups often clashing with one another.One-hundred plus years later, the music still incites the senses. The ballet was first publishedin 1914 in a reduction for two pianos, and serves as a basis for this arrangement. This editionis presented in honor of the centennial of the ballet’s premiere, and is intended to give soloistsand accompanists a chance to perform this monumental work. Both movements may beplayed alone, and the first movement may also serve as a solo piece.
SKU: MN.CAP-12
A medley of:1. O come, O come, Imanuel2. What child Is This?3. Good Christian Men, RejoiceTraditional Carols. No full score available.
SKU: AP.45839S
UPC: 038081529233. English.
This high intensity Spanish-flavored composition, Fandango Festival, by Victor López will make your young strings sound like experienced musicians. Featuring percussion and a variety of dynamics and articulations, this piece is exciting and fun to play. With much intensity and bravura, this traditional Spanish dance is a perfect choice for either festivals or concerts. (2:10) This title is available in MakeMusic Cloud.
SKU: HL.49019838
ISBN 9790001193481. UPC: 841886021044. 9.0x12.0x0.212 inches. German.
In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.
SKU: AP.1-ADV7429
UPC: 805095074291. English.
The lyrics for As with Gladness Men of Old were written by Englishman William Dix (1837--1898) in the 1860s, reportedly on the day of the Epiphany while Dix was sick in bed. The tune was included in a collection of German chorales edited by Conrad Kocher and published in the 1830s. As a testimony to the flexibility of such music, the hymn is also sung during Thanksgiving under the title For the Beauty of the Earth. This arrangement for saxophone quartet (SATBar)---rather than favoring a soprano solo with accompaniment---strives to include all of the players in the music making, particularly by distributing the melodic material. All dynamics and articulations, minimally marked, should be taken as suggestions only, as performers are encouraged to make their own interpretations.
SKU: CL.RWS-2042-00
Based around the popular holiday melody Toyland, Bryce Newton’s entertaining take on the elves at work is sure to be a hit! An exceptional change of pace from traditional holiday fare, your students will have a blast putting this one together for their holiday assemblies or concerts. Keep an ear out for several familiar holiday melodies the mischievous elves have woven throughout. Lots of fun!
SKU: P2.30061
From a Crack in the Wall (2012) was written for and dedicated to Escape 2 Create, 2012, and was premiered while in residency. The work is inspired by poems written by Japanese women poets, with dates ranging from the 10th to the 16th centuries, who centered on sounds heard in nature and appreciated as aesthetically meaningful, and including as well the silence of a sound, which indirectly suggests the sound itself. These poems were also composed in the context of a traditional natural sound that may not be mentioned directly. These women were highly respected, Princess Shikishi, a royal Shinto priestess, strongly influenced by Buddhism, Chiyo-ni, a Pure Land Buddhist nun, a very liberated, independent woman, Otagaki Regetsu, trained in martial arts, acclaimed as a waka poet, as well as a calligrapher and potter, and a Buddhist nun, Michitsuna no Haha, the poet develops enlightened connections that leap beyond the finite place of where a sight or a sound resides, the finger cymbals, representing temple bells, and the clarinet imitates the Japanese shakuhachi flute. In From a Crack in the Wall, the clarinet imitates a rubbed sound, such as with kaydids with specialized organs which make a sound when rubbed together. Many objects were also found nature, for example, the rainstick, a wooden tube encasing cactus needles, used in Each Time the Shower Returns, implying rain.
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