SKU: P2.30016
Just A Thought is the third of four works commissioned by and dedicated to 78 adventure-seeking tubists representing 30 states and three countries, who fearlessly joined the 2001 Solstice/Equinox Commissioning Consortium to commission James Grant to write four new recital pieces. As each Solstice and Equinox approached during the year 2001, a new piece was sent out to the participants. All four pieces (Stuff, High Autumn, Just A Thought, Endorphins) now exist in multiple versions for orchestral and band instruments and are programmed frequently at conferences and on student and faculty recitals throughout the year. Just A Thought is a gentle, lyrical ballad that, in the end, is just a thought.
SKU: P2.30014
Endorphins is the last of four works commissioned by and dedicated to 78 adventure-seeking tubists representing 30 states and three countries, who fearlessly joined the 2001 Solstice/Equinox Commissioning Consortium to commission James Grant to write four new recital pieces. As each Solstice and Equinox approached during the year 2001, a new piece was sent out to the participants. All four pieces (Stuff, High Autumn, Just A Thought, Endorphins) now exist in multiple versions for orchestral and band instruments and are programmed frequently at conferences and on student and faculty recitals throughout the year. Endorphins is marked aerobic and features, in its middle section, a recap of the principal themes from the first three recital pieces in the set, as well as a brief yet dramatic cadenza for the clarinet.
SKU: BT.EMBZ1919
English-German-Hungarian.
From 1906 on Béla Bartók was collecting folksongs on a regular basis. It was in 1907, during his first collecting trip to Transylvania, that he jotted down those three melodies in Gyergyóteker patak, Cs k, which he both provided with piano accompaniment (From Gyergyó) and arranged for solo piano (Three Hungarian Folksongs from Cs k) in the same year. The melodies were played by a ''sixty-year old man'' on a peasant flute. In 2015 we are launching a series entitled Bartók Transcriptions for Music Students to mark the 70th anniversary of the composer s death. This involves reissuing our tried publications, and publishing some further, new transcriptions that fulfill in every respectthe strict aesthetic demands of the earlier ones. We trust these publications will allow us to introduce still more music students to the realm of one of the great geniuses of 20th-century music.
SKU: ST.C143
ISBN 9790570811434.
Alexander Konstantinovich Glazunov (1865-1936) trained under Rimsky- Korsakov and became the most illustrious Russian composer and conductor immediately succeeding Tchaikovsky. Glazunov’s close affinity with the Saint Petersburg Conservatory, of which institution he would later become Director for more than two decades, placed him ideally to assist in the Institute’s transition to the Petrograd Conservatory in the immediate wake of the Bolshevik Revolution of 1917. For the last six years of his life, Glazunov left the USSR, feeling hemmed in by propagandist restrictions and at the same time out of kilter with the Modernist movement.He lived in exile for a time, touring the USA, before eventually settling in Paris, though his stoical brand of Russian Romanticism never waned. Despite being partly remembered for having taught Shostakovich, Glazunov was never known as a revolutionary composer, more inclined to align himself with 19th century ideologies than with the thrusting new compositional paths forged by Prokofiev and others. Indeed, the nationalistic movement so successfully espoused by Balakirev found a new energy in Glazunov’s hands, and he discovered an opulence of scale which leaned more in the direction of Borodin.There can be no doubting Glazunov’s technical mastery, which successfully drew together contrapuntal, lyrical and virtuosic skills, and which were admired by the likes of Liszt. Glazunov steered a steady course at a time when it was most sorely needed; one need only hear the marvellous Violin Concerto in A minor to experience the full power and authority of his writing, though he possessed an enviable touch with more intimate forms too, such as those readily to be heard in these three charming Miniatures Op.42, originally composed for piano.Clarinet and PianoTranscribed by Mark TannerGrades 6 & 7 (Trinity Grades 6 & 7 syllabuses)Former Spartan Press Cat. No.: SP1360.
SKU: HL.49018403
ISBN 9790001175708. UPC: 841886016415. 9.25x12.0x0.052 inches.
A 'Last Night of the Proms' without this march - unthinkable! 'Pomp and Circumstance Military March No. 1' with its middle section, the hymn-like 'Land of Hope and Glory' by Edward Elgar (1857-1934), belongs to the finale of the London music event like the Radetzky March usually played as last piece to the New Year's Concert of the Vienna Philharmonic Orchestra. The fame and popularity of the other four military marches composed by Elgar between 1901 and 1907 fade in comparison to this secret national anthem of Great Britain (although strongly rivalled by 'Rule, Britannia!'). It is, indeed, an equally rousing and catchy piece of music, and the catchy tune in the middle has just become a classical 'hit'. Thanks to the present edition, all those who do not have a large symphony orchestra at home can now play this rousing march by themselves.
SKU: P2.30094
Mark My Words, originally for tuba (but just as fun to play on clarinet), was composed by James Grant in February of 2007 as a heartfelt gift to his great friend and staunch musical ally, tubist Mark Nelson, in celebration of their first collaboration fourteen years earlier (Three Furies for solo tuba). Grant writes, When I began composing Mark My Words, I told Mark to be prepared for something fun that sounded like Charlie Brown doing a funky bossa nova (think jazz pianist/composer Vince Guaraldi's Linus and Lucy). I did not tell him that the middle section of Mark My Words would make overt references to all of the principal shapes, motives and themes from the Three Furies - my way of thanking Mark Nelson, specifically, for opening wide the door of composing for tuba and euphonium those many years ago and for so enthusiastically escorting me over that threshold. I am but one of many grateful composers whom Mark has supported over the years by commissioning, then recording their music. Mark My Words is my humble attempts at giving back to this devoted educator, consummate musician, fervent promoter of new music for tuba, and - yes - kickass player..
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