SKU: AP.36-A929501

ISBN 9781638875192. UPC: 735816239497. English.

When Max Reinhardt was engaged to direct a German language production of Shakespeare's Much Ado About Nothing at the Vienna Volksbühne in 1918, he asked Korngold to compose the incidental music. The production, under the German title Viel Lärmen um Nichts did not open until May 6, 1920 at the Schönbrunn Palace Theater. In the pit, the composer led members of the Vienna Philharmonic, performing no less than 18 pieces of music. In the meantime, due to the tardy premiere of the play, Korngold had already extracted a five-movement orchestral suite which garnered much praise when performed three months before the play's opening night. The five movements included: 1. the Overture; 2. Scene in the Bridal Chamber; 3. Holzapfel und Schlehwein (a mock-serious scene); 4. Intermezzo (Garden Scene); and 5. Hornpipe. When the play moved to Vienna's Burgtheater (more than 80 performances) and later to the Rezidenz Theater in Munich, the music continued to attract much attention. Demand for the music was such that Korngold arranged the suite into versions for violin and piano (four pieces), and for solo piano (three pieces). German composer-arranger Leo Artok (1885-1935) arranged the most popular three items (1. Hornpipe; 2. Garden Scene; and 3. In the Bridal Chamber) for small orchestra, which were then published by Schott in 1926. This newly engraved edition of the Artok arrangement, offered with a new full score for the first time, has been completed by R. Mark Rogers. All editions noted above are available from the publisher. Instrumentation: 1.1.2.1: 2.2.1.0: Timp.Perc(2).Harm: Str (9.8.7.6.5 in set).

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: MH.1-59913-071-8

ISBN 9781599130712.

Program Notes: Stylistically diverse -- tranquil, spirited pastoral, sensitive, energetic -- exhibiting a remarkable palette, the five movements of SINFONIA IX form a unique symphonic statement. Movement I, Prelude, is about contrasts: A lazy, smooth, motive in brasses alternates with, and then joins, an active and detached motive in woodwinds. The spirited Movement II, Morley's Ghost, is an intricate canonic collage and homage to that venerable theoretician & composer, Thomas Morley. By contrast, movement III, Dialog, speaks in a relaxed, lyrical, and pastoral language as it develops its gently rising and falling motives. Movement IV, Waltz, innocently celebrates the joys of childhood with a lilting melody and rondo form. For the rousing Finale, Movement V begins with a martial call of repeated-notes, heralding a headstrong journey of power and excitement. Like a number of the composer's other works, SINFONIA IX is based on earlier material: A brass sextet, written in 1966 when the composer was nineteen years old, forms the raw material for the first, third and fifth movements, while a later work, Martin's Waltz (a children's piece for flutes and clarinets composed in 1975) is the basis of the fourth movement. The second movement, however, is a fanciful contrapuntal commentary on Thomas Morley's 16th-century canzonet, Fire and Lightning. SINFONIA IX is dedicated to John Raforth, a distinguished band director and music educator at West High School in Madison, Wisconsin. The work was commissioned by his friends and former students, and was completed in 1977. Its first publication some twenty years later is a result of the increasing attention paid by university band directors to the earlier Sinfonias, particularly Sinfonia III (Hymns and Dances); Sinfonia V (Sinfonia Sacra et Profana); and now, Sinfonia IX. Whereas the first two works are wind ensemble compositions that have been championed equally by the concert band, Sinfonia IX is the composer's first college-level Sinfonia written especially for concert band. Ensemble instrumentation: 1 Piccolo, 8 Flute 1-2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bb Bass Clarinet, 2 Bassoon, 4 Eb Alto Saxophone, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 3 Trombone 1, 3 Trombone 2, 3 Baritone B.C., 2 Baritone T.C., 4 Tuba, 3 String Bass, 2 Timpani, 5 Percussion.

SKU: CL.026-4511-01

Inspired by the calm and serenity of the lake which is the setting for one of America’s premiere fine arts camps, this beautiful ballad provides an excellent opportunity for teaching legato style and phrasing. This Build-A-Band edition presents this favorite work in a format accessible to smaller ensembles or those with incomplete instrumentation. Highly recommended!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

SKU: HL.49016218

ISBN 9790001115094. UPC: 884088675103. 9.0x12.0x0.32 inches.

Penderecki's opera 'Ubu Rex' contains a small wind band functioning as King Ubu's 'military band'. Therefore the idea to arrange parts of the opera for large concert orchestra readily presented itself. Henning Brauel selected suitable material and arranged scenes from the opera into a suite of five movements without titles. The best of contemporary music for top ranking orchestral performances.

Picc. * 2 * 2 * Es-Klar. * 3 * Altklar. * Bassklar. * 2 Altsax. * Tenorsax. * Baritonsax. * 2 - 4 * 3 * 2 Flugelhr. in B * 2 Tenorhr. in B * 3 * Bar./Euph. in C * 2 - P. S. (Trgl.-baum * Rohrengl. * 2 Kirchengl. [Rohrengl.] * Schellen * 2 hg. Beck. * Beckenpaar * Crotalenbaum * 3 Tamt. * Tamb. * 3 Tomt. * Ruhrtr. * Mil. Tr. * gr. Tr. m. Beck. * Peitsche * Guiro * Tempelbl. * Sage * Glsp. * Marimba * Xyl.) (5 Spieler) - Kb. (funfsaitig).

SKU: PR.465000110

ISBN 9781598062090. UPC: 680160575442.

Castle Creek was written by Dan Welcher in celebration of the Aspen Music Festival's 40th anniversary, and served as a special tribute to the Festival's longtime President, Gordon Hardy. Castle Creek itself is a tributary of the Roaring Fork River on which the Aspen Music Festival campus (as well as Hardy's home) is built. Gordon's initials (G.A.H.) are used as the musical basis for the fanfare, which is centered on the ascending pitches G, A and B, and reflects the upward motion and positivity of the Aspen Music Festival itself. For advanced players. Duration: 5'.
Program Note by the ComposerThere is no “secret program” or hidden meaning in this lively, five-minute work: it was intended as a celebration of the 40th anniversary of the Aspen Music Festival, and as a special tribute to the Festival’s longtime President, Gordon Hardy. The title CASTLE CREEK refers to a tributary of the Roaring Fork River on which the Aspen Music Festival campus (as well as Mr. Hardy’s home) is built.The work pays homage to Gordon Hardy by utilizing his initials (“G.A.H.”) as a musical motive: the three letters correspond to the pitches G, A, and B). This three-note group forms the basis of the fanfare that opens the work, and it also serves as an ostinato, a bass line, and a general means of organizing the work’s tonal centers. Because the three notes are in ascending order, the ever-upward direction of the Aspen Music Festival and the positive energy of Gordon Hardy are readily evident.The athletic fanfare that begins the work (marked “noble, but energetic”) is scored for brass and percussion alone, and may be played as a separate piece. The rest of the ensemble joins at the conclusion of the fanfare, and a spirited tune in 9/8 issues from the woodwinds. After this is given a thorough workout, a middle section in faster 3/4 time provides machine-like energy. Perhaps it is the energy of the Festival, in high gear. At the height of this, the music of the fanfare returns in broad open notes in the brass, with the machine still pulsing in support. The overture ends in a burst of motion, with the three-note motive in its highest transposition.My colleague and former student Paul Bissell made this excellent transcription from the orchestral original.

SKU: CL.026-4133-01

An outstanding new addition to the Build-A-Band Series that includes the Song Without Words and Song of the Blacksmith movements from this famous suite. Can be combined with Scott's earlier arrangement of the March movement the same suite to make a wonderful program for concert and contest performances. Now even the smallest bands can successfully perform this great work which is such a staple of the concert band repertoire.

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

SKU: CL.026-4228-01

Ed Huckeby's Overtura has long been a popular favorite of bands around the world, and this solid sounding arrangement from the Barnhouse Build-A-Band Series is sure to be a favorite with bands that have instrumentation issues or a small number of players. Will sound impressive as long you have the four main parts covered by the instruments of your choice and it is sure to impress your audiences at any concert or contest performance. Includes optional piano, mallet percussion and percussion parts which help enhance the overall sound. Outstanding!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)