SKU: AP.49065
ISBN 9781470645861. UPC: 038081565163. English.
The setting of this exciting and beautifully arranged medley of classic fiddle tunes, Fiddler's Fortune arranged by Bob Phillips and Renata Bratt, provides a cool, super-fun groove that pulls the player into the action. Included are Red-Haired Boy, St. Anne's Reel, and Blackberry Blossom, and every section gets to play the well-known melodies. Lead sheets of each tune and for each instrument will be available as free downloads so the melodies can be played in unison for another class activity. This arrangement is scheduled to be premiered by the Wintergrass 2021 Virtual Youth Orchestra.To access the video, audio, and PDF resources click here.. (3:45) This title is available in MakeMusic Cloud.
SKU: AP.49065S
ISBN 9781470645878. UPC: 038081565170. English.
The setting of this exciting and beautifully arranged medley of classic fiddle tunes, Fiddler's Fortune arranged by Bob Phillips and Renata Bratt, provides a cool, super-fun groove that pulls the player into the action. Included are Red-Haired Boy, St. Anne's Reel, and Blackberry Blossom, and every section gets to play the well-known melodies. Lead sheets of each tune and for each instrument will be available as free downloads so the melodies can be played in unison for another class activity. This arrangement is scheduled to be premiered by the Wintergrass 2021 Virtual Youth Orchestra. (3:45) This title available in MakeMusic Cloud.
SKU: CF.C1232
ISBN 9781491160923. UPC: 680160919529. Transcribed by John Stafford Smith.
The celebratory and dramatic rendition of The Star-Spangled Banner by Sean O'Loughlin, first arranged for brass and percussion, is now beautifully scored for full orchestra. O'Loughlin's popular arrangement has become a favorite of both the Oregon Symphony and Baltimore Symphony brass players, being played at sporting events including Portland Trailblazers NBA basketball games, Baltimore Orioles baseball games, and Baltimore Ravens football games.With fanfare flourishes and colorful touches, this grand arrangement gives each section an opportunity to play the melody, making for a truly dynamic experience.
SKU: CF.C1232F
ISBN 9781491161371. UPC: 680160919963. Transcribed by John Stafford Smith.
The celebratory and dramatic rendition of The Star-Spangled Banner first arranged for brass and percussion by Sean O'Loughlin is now beautifully scored for full orchestra. O'Loughlin's popular arrangement has become a favorite of both the Oregon Symphony and Baltimore Symphony brass players, being played at sporting events including Portland Trailblazers NBA basketball games, Baltimore Orioles baseball games, and Baltimore Ravens football games.With fanfare flourishes and colorful touches, this grand arrangement gives each section an opportunity to play the melody, making for a truly dynamic experience.
SKU: AP.36-A601290
UPC: 676737533533. English.
Morton Gould, equally comfortable in the worlds of both serious and light music, presented his symphonettes (an Americanization of the term sinfonietta, much like kitchenette and dinette) as works of a truly American vernacular, drawing on popular culture as well as classical forms. His American Symphonette No. 2 was the work that first made Gould a name among the American public through radio, with the second movement (Pavanne) a pop orchestra standard to this day. Instrumentation: 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set). The original condensed score is included with this set, but the full score has been extracted from the complete work and also included.
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: AP.43817
UPC: 038081506784. English.
Opening with America, this arrangement is designed to be playable and easy to put together with any level of players. Set in C major for the simplest fingerings and to remain in 1st position, this will sound great for young orchestra or go together easily for more advanced players. (1:20).
SKU: RM.STRA03161-CO
SKU: HL.49001244
ISBN 9790001013727. German.
SKU: RM.DIVE04565-CO
SKU: RM.DIVE03664-CO
SKU: PO.UME12
ISBN 9781877564888.
Commissioned by the Royal Plunket Society for the New Zealand Symphony Orchestra, Eve de Castro-Robinson's These arms to hold you channels both tender adoration and the excitement of a new arrival. The children's choir maintains an expectant energy in this work with handclaps, overlapping chants, glissandi, ecstatic yelps and lullabies. Esteemed New Zealand poet Bill Manhire provided text for the choir, with excerpts taken from actual Plunket books heard alongside Manhire's own prose. Castanets and temple blocks are made curious and playful in this setting as they provide a bubbling rhythmic drive for the orchestra. These arms to hold you was the winner of the 2007 SOUNZ Contemporary Award.
SKU: AP.48076
ISBN 9781470658786. UPC: 038081554334. English.
Take your orchestra on a trip around the world with this fun medley of some of the most famous melodies ever written in A Musical Passport by Richard Meyer. Using 22 tunes from 17 different countries, this is the ultimate multi-cultural experience for your students and your audience! The melodies are tossed from section to section so all the instruments get a chance in the spotlight, and the quickly changing styles will keep everyone on their toes. Songs that are included in A Musical Passport by Richard Meyer are: America, the Beautiful (U.S.A.) * Rule, Britannia (England) * The Irish Washerwoman (Ireland) * Scotland the Brave (Scotland) * Roll Out the Barrel (Czechoslovakia/Germany) * Funiculi, Funicula (Italy) * Frere Jacques (France) * Dark Eyes (Russia) * Jasmine Flower Song (China) * Arirang (Korea) * Sakura (Japan) * Obwisana (Ghana) * Siyahamba (We Are Marching) (South Africa [Zulu]) * Waltzing Matilda (Australia) * La Cumparsita (South America [Uruguay]) * Las Chiapanecas (Mexico) * Cielito Lindo (Mexico) * O Canada (Canada) * Oh! Susanna (U.S.A.) * Camptown Races (U.S.A.) * America, the Beautiful (U.S.A.) * Home, Sweet Home (U.S.A.) * The Star-Spangled Banner (U.S.A.) * America, the Beautiful (U.S.A.). Correlates with Sound Innovations for String Orchestra, Book 2, Level 6. (3:00) This title is available in MakeMusic Cloud.
SKU: AP.48076S
ISBN 9781470658793. UPC: 038081554341. English.
Take your orchestra on a trip around the world with this fun medley of some of the most famous melodies ever written in A Musical Passport by Richard Meyer. Using 22 tunes from 17 different countries, this is the ultimate multi-cultural experience for your students and your audience! The melodies are tossed from section to section so all the instruments get a chance in the spotlight, and the quickly changing styles will keep everyone on their toes. Songs that are included in A Musical Passport by Richard Meyer are: America, the Beautiful (U.S.A.) * Rule, Britannia (England) * The Irish Washerwoman (Ireland) * Scotland the Brave (Scotland) * Roll Out the Barrel (Czechoslovakia/Germany) * Funiculi, Funicula (Italy) * Frere Jacques (France) * Dark Eyes (Russia) * Jasmine Flower Song (China) * Arirang (Korea) * Sakura (Japan) * Obwisana (Ghana) * Siyahamba (We Are Marching) (South Africa [Zulu]) * Waltzing Matilda (Australia) * La Cumparsita (South America [Uruguay]) * Las Chiapanecas (Mexico) * Cielito Lindo (Mexico) * O Canada (Canada) * Oh! Susanna (U.S.A.) * Camptown Races (U.S.A.) * America, the Beautiful (U.S.A.) * Home, Sweet Home (U.S.A.) * The Star-Spangled Banner (U.S.A.) * America, the Beautiful (U.S.A.). Correlates with Sound Innovations for String Orchestra, Book 2, Level 6. (3:00) This title available in MakeMusic Cloud.
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.49047172
UPC: 196288143406.
When the 24-year-old Richard Strauss, assistant conductor in Munich, began the composition of his third tone poem in the summer of 1888, he saw himself close to the aspiration prescribed by his mentor Alexander Ritter: to become the successor of Richard Wagner as a musical dramatist. Strauss had already been working on the text of his first opera Guntram for a year and additionally devoted himself to programmatic orchestral works oriented to the musical language of Liszt and Wagner in order to prepare himself compositionally for his new task. With the aid of Strauss and other musicians including Ludwig Thuille and Friedrich Rösch who had been gathering for “Ritter's round table†in Munich between 1886 and 1889, RitterÂ’s intention was to achieve success on a broad front with the New German School following the death of its two protagonists Wagner and Liszt. We do not know whether Ritter and his supporters jointly planned Strauss's compositional path towards opera, determined the subjectsof his prospective tone poems and considered various strategies of their musical realization, but the influence of this group shouldnot be underestimated. It cannot be ruled out that the number of three tone poems was fixed, as was their sequence of composition, which would progressively achieve its zenith in an increasing orientation to Liszt and Wagner. The circle could possibly have also discussed initial links to literary subjects (Macbeth and Don Juan) and ultimately the abstention from this practice in the third and final tone poem. The subject of the work, or rather in StraussÂ’s formulation its “poetic modelâ€, has occasionally been interpreted from an autobiographical aspect. Strauss however did not experience serious illness until May 1891 and once more in June 1892, long after Tod und Verklärung had been composed. Even without an external reason, the material would have been only too attractive for an admirer of Wagner and Liszt like Strauss, not to mention for his mentor Alexander Ritter. The concept of 'death and transfiguration' had already played a central role in LisztÂ’s symphonic poems Tasso and Prometheus.
SKU: HL.49004562
ISBN 9790001047814. 9.75x12.0x0.607 inches.
Vor der Buhne: 3 (auch 3 Picc.) * 0 * 2 (auch Klar. in Es u. Bassklar.) * 0 - 3 * 0 * 0 * 0 - P. S. (Xyl. * Mar. * Bassxyl. * Met. * Glasersp. * Rohrengl. * Cymb. * Beck. [und ] * Tamt. * Trgl. * Tamb. * 2 Bngs. * kl. Tr. * gr. Tr. * 3 Holzbl. * Angklung * Bambusstabe * Guiro * Ratsche * Rassel * Peitsche) (4-5 Spieler) - Hfe. * Cel. * Klav. * Org. - Str. (6 * 0 * 3 * 3 * 3)Auf der Buhne: 3 Tr. - Rupelorchester : 2 Klar. in C * 2 Tr. * Pos. * S. (kl. Tr. * gr. Tr. * Beck.) * 1 Kb.Hinter der Buhne: Schlitztr. * Muschelhr. * Windmasch.Tonband: Kinder-, Frauen- und Mannerstimmen * Chor - 3 Picc. - P. S. (Glsp. * Xyl. * Bassxyl. * Marimb. * Cymb. * Beck. * Tamt. * Trgl. *Tamb. * Sistr. * Bug. * 3 Holzbl. * Angklung * Bambusstabe * Glasgl.) - Klav. * Cemb. * Org. * Handharm. - 1 Kb.vor der Buhne: 3 (auch 3 Picc.) * 0 * 2 (auch Klar. in Es u. Bassklar.) * 0 - 3 * 0 * 0 * 0 - P. S. (Xyl. * Mar. * Bassxyl. * Met. * Glasersp. * Rohrengl. * Cymb. * Beck. [und ] * Tamt. * Trgl. * Tamb. * 2 Bngs. * kl. Tr. * gr. Tr. * 3 Holzbl. * Angklung * Bambusstabe * Guiro * Ratsche * Rassel * Peitsche) (4-5 Spieler) - Hfe. * Cel. * Klav. * Org. - Str. (6 * 0 * 3 * 3 * 3)Auf der Buhne: 3 Tr. - Rupelorchester : 2 Klar. in C * 2 Tr. * Pos. * S. (kl. Tr. * gr. Tr. * Beck.) * 1 Kb.Hinter der Buhne: Schlitztr. * Muschelhr. * Windmasch.Tonband: Kinder-, Frauen- und Mannerstimmen * Chor - 3 Picc. - P. S. (Glsp. * Xyl. * Bassxyl. * Marimb. * Cymb. * Beck. * Tamt. * Trgl. *Tamb. * Sistr. * Bug. * 3 Holzbl. * Angklung * Bambusstabe * Glasgl.) - Klav. * Cemb. * Org. * Handharm. - 1 Kb.
SKU: AP.48100
ISBN 9781470657505. UPC: 038081550978. English.
This thrilling arrangement of Sergei Rachmaninov's Prelude in G Minor, arranged by Tanner Otto, is sure to get the adrenaline flowing. The bold and assertive melodies are as fun to play as they are to listen to. This piece is great for developing and refining the staccato bow stroke and for tone development. A perfect festival piece or concert finale! (3:20).
SKU: SU.97022030
New York Overture was commissioned by the New York Chamber Symphony and composed for the rich and bright sound that this orchestra reveals under Gerard Schwarz’s wonderfully buoyant and energetic leadership. Having worked with these intense artists many times before, I found it easy to imagine, in a single vision, a dramatic overture cast in a traditional and serious manner. My impressions and memories of New York provided a direct catalyst. Woven into the overture are a number of ‘hints’ derived from well-known melodies which have endured as popular romanticizations of New York’s manifold personality. Coupled with these ‘hints’ are my own Tin-Pan Alley and jazz experiences, presented and transformed throughout the melodic and harmonic fabric. Rhythmically, the New York Overture seeks to create perpetual motion and movement as a metaphor for what we see and encounter in the New York streets, with their intricate rhythmic patterns of pulsing energy. Listeners will, I hope, discover in it their own feelings and memories, aroused by the aura of this dazzling, varied, and yet monolithic city. —William Thomas McKinley (© 1990), from 12-13 May 1990 program and his notes. 2(1) 2 2 2; 2200; timp/perc, pno, hp; stgs Duration: 14' Composed: 1989 Published by: Notevole Music Publishing Performance materials available on rental:.
SKU: AP.48100S
ISBN 9781470657512. UPC: 038081550985. English.
SKU: AP.48044
ISBN 9781470658762. UPC: 038081550817. English.
Students will love playing The Ascent by Tanner Otto for its upbeat, driving rhythms and beautiful melodies. This piece begins with a triumphant ostinato pattern that reappears throughout the work. The animated main theme leads to a cold and tense middle section before building back into familiar melody. This piece is perfect for working on the A minor and C major finger pattern and staccato bowing. (2:10) This title is available in MakeMusic Cloud.
SKU: AP.49906
ISBN 9781470657949. UPC: 038081575803. English.
A sequel to his earlier work Sunchasers, Starchasers by Tanner Otto is a dark, driving piece that makes B minor accessible to younger players by carefully avoiding any extensions in the violin, viola, and cello parts. Its memorable themes, reminiscent of a nighttime adventure, are spread across all instruments. The middle section becomes ethereal with the pizzicato in the viola, evoking an image of twinkling stars. Starchasers is a great teaching piece for 3/4 time and uses low-2 and high-2 work to reinforce the 1-2 finger pattern for intermediate students. (2:05).
SKU: AP.49036
ISBN 9781470645502. UPC: 038081564043. English.
Fight the Resistance! by Tanner Otto is an exciting and dynamic march-style piece and was written to highlight the skill of playing closer to the bridge. In order to play the sustained melodic lines forte, students must fight the resistance of the bridge by changing their bowing lane. It also reinforces the low-2 finger pattern (A minor) with a few accidentals. The cellos have very accessible shifting, and all sections get to play the melody. Great for working on staccato and accents.
SKU: BR.PB-5548-07
ISBN 9790004213582. 6.5 x 9 inches.
The Overture to Hermann and Dorothea is the only compositional result that Schumann reaped from Goethes epic poem. He had originally planned an entire opera, then a Singspiel, and finally an oratorio. In the end (1851), he quickly produced an orchestral score that remained unprinted during his lifetime. The striking thematic use of the Marseillaise is multiply motivated: Goethes poem unfolds in 1796, when the two eponymous lovers are fleeing from the French revolutionary troops; Schumann had directly experienced the revolutionary uprisings of 1848 in Dresden; finally, Louis Napoleons coup detat of 2 December 1851 must also have made an impact on the composer. The primary source of the Urtext edition of Schumanns Revolutionary Overture is the carefully written autograph.Urtext of the Revolutionary.
SKU: BR.PB-5320
Urtext of Revolutionary Overture
ISBN 9790004212363. 10 x 12.5 inches.
SKU: BR.OB-5641-60
ISBN 9790004348833. 10.5 x 14 inches.
The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. It is therefore all the more regrettable that he was neither able to perform his Symphony in Songs himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fussl, many questions remained unanswered, while other were answered in a dubious way.The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/Eb clarinet, bass clarinet/3rd clarinet in places where the latter plays Eb clarinet) to allow performances with only four clarinets.The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler's piano autograph and the piano reduction by Woss, which was commissioned by the composer himself, served as an inspiration for this.
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