SKU: AP.12-0571572162
ISBN 9780571572168. English.
Carl Vine's Piano Concerto No. 1 (1997) is one of three large-scale works composed with pianist Michael Kieran Harvey in mind---the others being his first two piano sonatas. Vine describes it as a conscious and continuous tribute to the piano concerto as a medium and historical entity, a fact most apparent in the slow movement, with its long melodic lines evoking both Ravel and Bach. This 25-minute concerto is cast in the familiar three-movement form, with fast outer movements framing a central slow movement. The outer movements share some material (particularly in some lively conversational interchanges between piano and trumpet), and also some typically pianistic glitter across the orchestra, with harp and glockenspiel ensuring that the piano is less of an outsider than might have otherwise been the case.
SKU: AP.12-0571572189
ISBN 9780571572182. English.
First performed by Piers Lane and the Sydney Symphony Orchestra, Carl Vine's vibrant Piano Concerto No. 2 (2012) is an attractive 25-minute work comprised of three movements. A rhapsody and nocturne lead to a finale entitled Cloudless Blue, a dazzling presto that captures all the brilliance of the Australian summer.
SKU: AP.12-0571538983
ISBN 9780571538980. English.
Francisco Coll's vivid and unpredictable Piano Concertino: No sere yo quien diga nada (I'm not saying nothing) is one of his most striking scores to date. Written for Nicolas Hodges this four-movement work, with its idiosyncratic instrumentation (a bottom-heavy ensemble of lower strings, wind, brass, and percussion), flinty harmonies, and taut rhythmic profile will make a strong and lasting impression on audiences.
SKU: AP.12-0571572170
ISBN 9780571572175. English.
SKU: PE.EP67957
ISBN 9790300748511.
This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: AP.45767
UPC: 038081523033. English. Freely arranged by Douglas E. Wagner.
The third movement of Opus 34 (Three Festival Choruses), which Gustav Holst penned in 1916, was originally scored for chorus with piano, orchestra, or military band. The easily recognized melody is a nineteenth century Welsh ballad, known to most as the hymn tune St. Denio, set to the words of English poet, Clifford Bax. In 3/4, this characteristically delightful Holst theme has been freely arranged to incorporate elements of his original score with additional material included to heighten musical interest for contemporary concert bands and audiences alike. As the title implies, chimes are an integral part of this arrangement; however, there are alternate options provided in the program notes if a suitable instrument is unavailable. This musical setting is complete with a variety of teaching and performance opportunities and a perfect fit for beginning concert bands. (2:00).
SKU: AP.45767S
UPC: 038081523040. English. Freely arranged by Douglas E. Wagner.
SKU: CL.012-4602-00
Dvorak’s Humoresque is one of the most famous melodies of light classical music, and this arrangement for concert band is a true gem! Sensitively scored to retain the delicate lilt and feel of the original piano composition, this work is an ideal change of pace selection for concert or festival performances. Also well-suited to adult community bands, Humoresque will charm audiences and delight performers. A great opportunity to bring a miniature classical masterpiece to your concert band!
About Gems of the Concert Band
A series of transcriptions and other works in varying styles, representative of the programming of the Great American Classic Concert Band era of a century ago, as exemplified by John Phillip Sousa, Edwin Franko Goldman, Karl L. King, and Leonard B. Smith
SKU: CL.012-4602-75
Dvorak's Humoresque is one of the most famous melodies of light classical music, and this arrangement for concert band is a true gem! Sensitively scored to retain the delicate lilt and feel of the original piano composition, this work is an ideal change of pace selection for concert or festival performances. Also well-suited to adult community bands, Humoresque will charm audiences and delight performers. A great opportunity to bring a miniature classical masterpiece to your concert band!
SKU: CL.012-4602-01
SKU: BT.DHP-1064079-140
9x12 inches. English-German-French-Dutch.
The Golden Age is a programmatic composition in four movements. I Overture For the Netherlands, the seventeenth century was a period of great flourishing in the fields of economy, culture and politics; thus it is called the Golden Age. Overseas trade boomed, and the Dutch East India Company (known as the VOC by the Dutch) was founded and expanded to become a powerful -and, at the time - modern enterprise. II ¡Adiós españoles!(Farewell, Spaniards!) In 1567, the Spanish army invaded, led by the Duke of Alva. There was a fierce resistance against the Spanish tyranny; toward the end of the sixteenth century, the Dutch proclaimed theRepublic. However, the Spanish continued the war. Only with the Treaty of Münster in 1648 did the Dutch get their much sought-after independence. This was also the end of the Eighty Years’ War. III Rembrandt’s Night WatchThe field of culture, particularly literature, painting, sculpture, architecture, the art of printing, and cartography developed fast. It was in the Golden Age that the celebrated painter Rembrandt van Rijn created his famous Night Watch. IV The Admiral Overseas trade entailed the colonization of large areas in Asia, from where precious products that yielded lots of money were brought in. Surrounding countries were also involved in such practices. Colonizers poached on each other’s territories in the literal and figurative sense - in this context the Anglo-Dutch Sea Wars are legendary. The fourth movement starts with the English patriotic song Rule Britannia, after which the Dutch Admiral Michiel de Ruyter makes the English change their tune; one can even hear the roaring of cannons. When the smoke of battle has cleared, a small fragment of a Dutch song about Michiel de Ruyter appears, followed by a fitting closing. The Golden Age is een programmatische compositie in vier delen. Overtureverklankt de Gouden Eeuw, voor Nederland een periode van grote bloei. Dan volgt ¡Adiós españoles! over het einde van de Tachtigjarige Oorlog.Rembrandt’s Night Watch beschrijft de ontwikkeling op cultureel gebied: in de Gouden Eeuw schilderde Rembrandt van Rijn zijn beroemde Nachtwacht. Deel vier, The Admiral, begint met Rule Britannia,waarna de Nederlandse admiraal Michiel de Ruyter de Engelsen een toontje lager laat zingen, er is zelfs kanongebulder te horen. Dan klinkt een fragment van het Nederlandse liedje dat aan Michiel de Ruyter is gewijd, waarna een passendslot volgt.The Golden Age ist eine programmatische Komposition in vier Sätzen über das so genannte “Goldene Zeitalter“ in der Geschichte der Niederlande. In dieser Periode erlebte das Land eine Blütezeit des (Übersee-)Handels, der Kultur und Politik, es befreite sich von der spanischen Herrschaft, brachte Kunstwerke wie Rembrandt’s Nachtwache hervor und entwickelte sich zu einer Kolonialmacht. Die Aufmerksamkeit der Zuhörer ist bei Kees Schoonenbeeks spannender musikalischer Geschichtsstunde garantiert!Après une guerre qui dura 80 ans, l'Espagne reconnut finalement l'indépendance des Provinces-Unies néerlandaises, qui devinrent alors l’une des plus importantes puissances maritimes et économiques du XVIIe siècle. Cette période est connue sous le nom de Siècle d’or (The Golden Age) et correspond une phase de développement exceptionnel des Pays-Bas tant sur le plan colonial et militaire que sur le plan culturel, intellectuel et artistique. Dopo una guerra che durò 80 anni, la Spagna riconobbe l’indipendenza delle Province-Unite olandesi che divennero potenze marittime ed economiche del XVII secolo. Questo periodo è conosciuto con il nome di Secolo d’Oro (The Golden Age) e corrisponde ad una fase di sviluppo eccezionale dei Paesi Bassi sia sul piano coloniale e militare, sia sul piano culturale, intellettuale e artistico.
SKU: BT.DHP-1064079-010
SKU: AP.38358
UPC: 038081430911. English.
Vaughan Williams traveled during 1903 to 1906, collecting folk songs first-hand from residents. Four of the fifteen titles he published for voice and piano in the original volume comprise Folk Songs from the Eastern Counties, including The Lost Lady Found, The Lark in the Morning, Bushes and Briars, and Ward, the Pirate. Scored for concert band exactly as they were first published, with much of the accompanying material also being drawn from RVW's harmonizations and stylistic interpretations. Experience these cherished authentic folk songs creatively complied for your concert band. (3:30) This title is available in MakeMusic Cloud.
SKU: KJ.WB219
DECLARATION is an exuberant grade 2 arrangement of the 16th century composer Benedetto Marcello's Psalm 19. Originally written for organ, this maestosos arrangement for full concert band is an excellent vehicle for introducing this significant period in music history.
About Standard of Excellence in Concert
The Standard of Excellence In Concert series presents exceptional arrangements, transcriptions, and original concert and festival pieces for beginning and intermediate band. Each selection is correlated to a specific page in the Standard of Excellence Band Method, reinforcing and expanding skills and concepts introduced in the method up to that point. Exciting parts with extensive cross-cueing are presented for every player. Accessible ranges, appropriate rhythmic challenges, and creative percussion section writing enhance the pedagogical value of the series.Sold individually, each In Concert selection includes a full Conductor Score and enough student parts for large symphonic bands. Each student part also includes correlated Warm-Up Studies. The Conductor Score comes complete with rehearsal suggestions, a composer biography, program notes, a rehearsal piano part, several ready-to-duplicate worksheets and a duplicable written quiz.
SKU: AP.43132S
UPC: 038081504643. English.
The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist Erik Satie. The name referrers to an ancient Greek festival and dance. This piece has a haunting quality to its very familiar melody while its harmonies are atmospheric and ethereal. The setting would easily stand on its own but would also lend itself well to choreography for modern dance or ballet to enhance the performance and involve additional performers on stage at your concert. The flowing lines and beautiful textures make Festival Dance a must for your concert band repertoire. (3:00).
SKU: CN.R10004
A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.
© 2000 - 2024 Home - New releases - Composers Legal notice - Full version