SKU: HL.14023642
ISBN 9780711978119. 9.0x12.0x0.243 inches.
This work was written by Michael Nyman towards the end of 1997, commissioned by the English Sinfonia to celebrate the orchestra's taking up residence in Stevenage, Hertfordshire. The first performance was given by the English Sinfonia under Bramwell Toevy at the Royal Festival Hall, London, on 14 April 1998. Duration c. 17mins. Instrumentation:; 2 FLUTES; 2 OBOES; 2 CLARINETS IN Bb; 2 BASSOONS; 2 HORNS IN F; 2 TRUMPETS IN Bb; TIMPANI; STRINGS.
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: PR.416416140
UPC: 680160642441.
Time is one of the main factors impacting the world and our lives. Einstein saw time as the relationship of the motion of one object relative to the position of another object, as measured through observation. But can we really measure time objectively? Music, the art which moves through time, can affect our perception of time, and can affect each person's perception of time differently. Depending on the emotion it stimulates, music can make time seem to pass quickly or slowly. A composer can use music to convey time to an audience and different musical ideas can create different sensations of time. Absence of Time is a concerto for woodwind quartet and orchestra. It has three main sections (fast, slow, fast), recalling traditional concerto form, but it does not use the solo instruments in the traditional way, i.e., as soloists in contest with the orchestra. Inspired by the idea of juxtaposing different experiences of time, I divided the instruments into two groups: the four soloists and the orchestra. The orchestra functions mostly as the keeper of time (real time) while the quartet of soloists fluctuates (in imaginary time or in the absence of time) around the orchestra's time. While the quartet's instruments do play solos, they also play in ensemble with the orchestra. You could say that they play in both imaginary time (as soloists) and in real time (with the orchestra). In addition to this, the woodwind section of the orchestra plays in conversation with the solo quartet, calling it back to real time. Fusion is achieved at the end of the piece through the use of strong, driving rhythm. Absence of Time was commissioned by the Pacific Symphony and was first performed by the Pacific Symphony and the Pacific Symphony Woodwind Quartet with Carl St. Clair as conductor on October 20, 2016.
SKU: PR.41641614L
UPC: 680160642458. 11 x 17 inches.
SKU: AP.12-0571572316
ISBN 9780571572311. English.
Carl Vine's Concerto for Orchestra was premiered to critical acclaim by the West Australian Symphony Orchestra in October 2014. Vine describes the way the 20-minute work (like his recent piano trio The Village) evolves organically through a chain of episodes to create a web of melodies and harmonies that are related, but not identical. This network of ideas is tied together by strong lateral bonds but remains fluid and flexible, creating a series of fleeting glimpses---what Prokofiev called visions fugitives---abstract patterns glimpsed in the half-light or imagined behind clouds.
SKU: AP.50831
ISBN 9781470666194. UPC: 038081584805. English.
Fury, by Chris M. Bernotas, is an exhilarating piece that will excite and energize your intermediate string orchestra. It features angular rhythms, strong melodic lines for all, and intense energy that will keep students on the edge of their seats. Whether played at a contest, as a concert opener or closer, this piece will leave a lasting impression. (2:35) Correlates to Sound Innovations, Book 1, Level 4.
SKU: AP.50831S
ISBN 9781470666200. UPC: 038081584812. English.
SKU: AP.48057S
ISBN 9781470652340. UPC: 038081557830. English.
Doug Adams' arrangement of Panic! At the Disco's chart-topping pop-rock anthem, High Hopes, is going to excite your string orchestra and audience. It will be hard to stop them from singing along. Scored perfectly for younger string orchestras, students will fill the hall with a rich sound and strong rhythmic presence. (2:00).
SKU: AP.48057
ISBN 9781470652258. UPC: 038081557823. English.
SKU: AP.46685S
UPC: 038081534152. English.
L'improviste Vignette is a bold and energetic work for young string orchestra by composer and educator Michael Kamuf. The interesting melodic and accompaniment passages will keep all players engaged. Using flowing melodies with strong harmonies and bold rhythmic figures, this piece works perfectly as an opening or closing selection for concerts and festival performances.
SKU: AP.48069S
ISBN 9781470661939. UPC: 038081554327. English.
Nostaglia, by Rossano Galante, literally means a sentimental longing or wistful affection for the past, typically for a period or place with happy personal associations. This orchestral setting is lyrical, joyous, and ultimately hopeful, taking the listener to a place of harmonic bliss. A strong full orchestra work for festival or the concert stage, the composition incorporates two melodic themes that build to a climactic resolution that utilizes the full ensemble. This title is available in MakeMusic Cloud. (5:00).
SKU: HL.49010227
ISBN 9783795772550. UPC: 841886020993. 5.25x7.5x0.26 inches. (ed. Blume/Matthews) Edition Eulenburg No. 774.
His concertos justifiably rank among the milestones of solo music accompanied by orchestra. In Viennese Classicism, piano music flourished thanks to innovations in the instrumental technique, and even Mozart fully exploited the advantages of the fortepiano action over the rigid sound of the harpsichord in his works.Piano Concerto No. 25 is Mozart's longest concerto. The harmonic structure, the continuous change between major and minor, the witty dialoguing between solo and orchestra, the strong contrapuntal saturation, the frequent use of the pedal point as well as the overflowing melodic abundance give the work a character all its own.
SKU: AP.49059S
ISBN 9781470645779. UPC: 038081565255. English.
Written specially to help young players gain confidence and build upon their beginning playing abilities, Sinfonietta for Strings by Anthony Granata echoes the composition style of the classical period. A Sinfonietta is a smaller and lighter version of the symphony. Set in the key of G major, students will love the broad and vigorous unison opening, the sudden change to E minor, and the mixture of dialogue and easy counterpoint interwoven throughout the piece. This piece will help your students develop skills in proper right-hand bow facility, simple slur and bowing patterns, common rhythms, identification of accidentals, and use of dynamics to achieve a very strong and dramatic sound. (3:05) This title available in MakeMusic Cloud.
SKU: AP.45834
UPC: 038081526454. English.
The keyboard music of English composer William Byrd (1543--1623) has long been regarded as some of the most representative works produced during the late Renaissance period. The Fitzwilliam Virginal Book, the quintessential source of music for this idiom of the time, is also the source of the three Byrd titles included in this suite: The Bells, John, and Sellinger's Round. The arrangements by Douglas E. Wagner are richly scored to flatter the sound of ensembles of any size. Care has been taken to eliminate technical obstacles for younger players, with musically interesting individual parts a strong consideration. (4:25).
SKU: AP.24992S
UPC: 038081278834. English.
Cast a spell up and down the fingerboard as fingers add and subtract. A strong string march rhythm provides structure and drive as young players practice beginning finger patterns! March of the Mathemagicians can be played by first year players who have mastered the D Major scale and all notes are in first position with no high 3s or forward extensions. With the exception of a few notes on the G in the basses, all sections use only the D and A strings. Each section has the opportunity to play the very easy melody. This catchy, toe-tapping tune is readily accessible for first year players and will be a highlight of any concert.
SKU: AP.43788
UPC: 038081496610. English.
This appealing tango is full of drama and passion, with an aggressive, dark theme and strong rhythm. Each member of the ensemble gets a moment in the spotlight and will surely enjoy achieving the challenges of their part. The melody, countermelody, and tango rhythm will have them dancing! (2:00).
SKU: AP.46711
UPC: 038081535234. English.
Reflecting the energy and drive of the furious winds of November on Lake Michigan, this original work will resonate with anyone ever caught in a storm. The strong Dutch heritage of West Michigan bestows the name Meer Winden, lake winds in Dutch, and provides a story to the technical and musical elements of the piece. All sections play the melody and the driving accompaniments. Violins and violas use third position; violas and cellos use fourth position. Meer Winden, by Bob Phillips, provides ample opportunity for working on tone within the ensemble.
SKU: AP.45874
UPC: 038081523774. English.
Here's a fun, jazzy, all-pizzicato selection for early beginners to play at one of their first concerts! Built around a strong, steady beat, this original by Doug Spata uses only the D and A strings, and half, quarter, and eighth notes with very limited independence to keep everyone together. Each section gets a melody, making it the perfect way to show off those beginning skills. (1:40).
SKU: AP.49935
ISBN 9781470657765. UPC: 038081575629. English.
Shaker Variations by Jim Palmer is a theme and variations on the familiar Shaker melody Simple Gifts. Each section has the opportunity to play musical lines and a variety of styles. Rich harmonies will create a mature orchestral sound, and a strong ending makes this piece a great opener or closer for any concert or festival performance. (3:45).
SKU: AP.49071S
ISBN 9781470648183. UPC: 038081567310. English.
Ride the Wind by Mark Wood showcases how pop/rock music fits perfectly with orchestras. The song starts with tremolo building into the downbeat---from a light breeze to a strong wind blowing and flying in the air. The middle section adds arpeggios and solos for the first violin, building up to a key change finale. This composition features soaring melodies and rockin' cellos and bass! For string orchestra with optional rock rhythm section parts. (2:40)Download Play-Along Track
SKU: AP.45874S
UPC: 038081523781. English.
Here's a fun, jazzy, all-pizzicato selection for early beginners to play at one of their first concerts! Showtime Rag is built around a strong, steady beat. This original by Doug Spata uses only the D and A strings, and half, quarter, and eighth notes with very limited independence to keep everyone together. Each section gets a melody, making it the perfect way to show off those beginning skills. (1:40).
SKU: SU.90810040
Instrumentation: 3fl(picc), 2ob, 2cl, 2bn; 4hn, 3tpt, 2tbn(bs), tba; timp, 4 perc, hrp, pno; strings Duratiion: 3' Full Score & Parts: available on rental Composed: 1997 Published by: Subito Music Publishing Composer's Note: A Festive Violet Pulse opens with lively textures in the woodwinds which are used as accompaniment for a melodic statement in the violins. This melody is answered contrapuntally by the celli, and develops into a web of repeated melodic phrases. The middle section is very rhythmic, highlighting the percussion section and making use of many polyrhtyhms. A soft tremolo begins to emerge in the strings and gradually evolves into the foreground material. A repeated note theme enters in the celli and is answered sequentially by each string section. A strong statement of the original theme in the trumpets and violins climaxes the movement. --N.G.
SKU: AP.45834S
UPC: 038081526461. English.
SKU: AP.42061S
UPC: 038081484006. English.
Depicting stunning points of interest, the history, and the geology from southern Orange County, California, this piece takes the listener on a musical tour of three of the composer's favorite places. Students and audiences will enjoy the strong, confident themes, and lush colorful writing in this original work. (3:10) This title is available in MakeMusic Cloud.
SKU: AP.43788S
UPC: 038081496627. English.
SKU: KN.8143
UPC: 822795081435.
William Billings' illustrious hymn Chester is scored here in a very playable concert setting that allows for a full sound and interesting lines in all parts. The simple nobility of the melodic line and its strong, solid harmonies are major factors in the enduring popularity of this song. Duration 2:55. Available in SmartMusic.
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