SKU: AP.46698S
UPC: 038081537184. English.
Intended to introduce young players to Latin music style, this cheerful and energized composition is guaranteed to be a success as you tour the Caribbean. In addition to being solidly scored, the catchy melody and Latin hand percussion will definitely make this piece---full of spice and sun, and originally written by Victor López---a hit at your earliest concert. Whether you are celebrating Cinco de Mayo or looking for a change of pace, you can't go wrong with Fiesta Time! (1:30).
SKU: AP.45820S
UPC: 038081523309. English.
What would December concerts be without those familiar tunes that everyone loves to hear during that time of year? Here's a medley arranged by Douglas E. Wagner of a baker's dozen of some of the most recognized holiday tunes in the world, set in a fun, up-tempo style that is sure to be an audience hit. Even the violas get to play the melody! The tunes (in presentation order) are: Good King Wenceslas * Deck the Hall * O Come, All Ye Faithful * Here We Come A-Caroling * Jolly Old Saint Nicholas * O Come, Little Children * Angels We Have Heard on High * We Three Kings * Now Is Born * Joy to the World * Jingle Bells * Up on the Housetop * and Hallelujah! Chorus. (1:30).
SKU: PO.PEL22
ISBN 9781877564475.
For Lilburn's only full-length choral work, Prodigal Country, the composer set three poems to music – Robin Hyde's Journey from New Zealand, Allen Curnow's New Zealand City and Walt Whitman's Song of Myself. Across a single, winding movement, Prodigal Country conjures nostalgia and strangeness through its sung text and drifting melodic contours. The imagery of the river dominates the work, which, for Lilburn, seemed to represent freedom, while elsewhere Hyde's evocative landscape is rugged and harsh, Curnow's text emphasises the hesitancy and unease reminiscent of the Depression and Whitman's romanticism is celebrated through Lilburn's lyrical, melodic treatment. Douglas Lilburn occupies a pre-eminent position in New Zealand music, with a legacy extending well beyond his compositional output. As a composer, teacher and mentor he presided in innumerable ways over the artistic growth of New Zealand from 1940 onwards. From the early works redolent of the influence of Sibelius and Vaughan Williams, to the electro-acoustic pieces of his later years, his works have been instrumental in establishing a genuine vernacular in New Zealand classical music.
SKU: FG.55011-468-5
ISBN 9790550114685.
To mark the 150th anniversary of Armas Jarnefelt, Fennica Gehrman publishes his hitherto unpublished works. Jarnefelt's first composition for stage was music for Z. Topelius's play Miranda in 1900-1901. It is a kind of melodrama with recitation and choral singing, not so much incidental music. Jarnefelt composed a rather broad array of numbers for Miranda, seven movements in total. Miranda is characterized by a downwards moving chromatic chord progression. Listeners especially liked the Nymf- och trolldans movement, its slowly and elegantly swinging waltz, and the Oriental colours of one of the dance movements. Orchestral parts available for hire.
SKU: BR.SON-627
ISBN 9790004803295. 10 x 12.5 inches.
In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts … are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. … In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. … For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. … JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.
SKU: BR.SON-625
ISBN 9790004803271. 10 x 12.5 inches.
In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts ... are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. ... In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. ... For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. ... JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.
SKU: AP.40432S
UPC: 038081458243. English.
A very playable, choice selection from the hit movie The Hobbit: An Unexpected Journey, this tune will delight audiences and players alike. Crafted specifically for beginners in their first or second year of instruction, solo sections are included which easily divide between sections to spread the fame. This title is available in MakeMusic Cloud.
SKU: BR.PB-4371
Handel composed his Water Music for none other than King George I who requested a concert for guests invited to his pleasure cruise on the Thames.
ISBN 9790004202920. 9 x 12 inches.
According to the Daily Courant, the premiere took place as follows: On Wednesday Evening, at about 8, the King took to Water at Whitehall in an open Barge, wherein were Dutchess of Bolton, The Dutchess of New Castle, the Countess of Godolphin, Madam Kilmaseck, and the Earl of Orkney. And went up the River towards Chelsea. Many other of Barges with Person of Quality attended, and so the great Number of Boats, that the whole River in a manner was couver'd; a City Company's Barge was employ'd for the Musick, wherein were 50 Instruments of all sorts, Who play'd all the way from Lambeth (while the Barges drove with the Tide without Rowing, as far as Chelsea) the finest Symphonies, compos'd express for this Occasion, by Mr Hendel: which his Majesty liked so well, that he caus'd it to be play'd over three times in going and returning. At Eleven his Majesty came again into Barge, and return'd the same Way, the Musick continuing to play till he landed.Handel composed his Water Music for none other than King George I who requested a concert for guests invited to his pleasure cruise on the Thames.
SKU: AP.36-52703425
ISBN 9781628761757. UPC: 679360720424. English.
Experience adventures in 3rd position for Violin 1 with experimentation in easy flat keys, 6/8 time and mixed meters! With thematic material in all parts, this set is a technique-builder for intermediate players. The score is included with the parts. Contents: Skye Boat Song, Marie's Wedding, She's Like the Swallow, Greensleeves, Dashing White Sergeant, Amazing Grace, Blow the Wind Southerly, Country Dance, Hornpipe, In a Manger He is Lying, Zither Carol.
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.49174S
UPC: 038081563763. English.
This version of Danger Zone arranged by Michael Story is part of our Belwin FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 5 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys. This arrangement of Kenny Loggins' rock hit is from the movie Top Gun. The familiar driving bass line is the foundation for this energetic box office favorite. Soaring aerobatic ecstasy! (2:15) Percussion Accompaniment Track Downloads: with click. without click.
SKU: BT.PWM8821
Work on this piece began in the spring of 1899 durng Kar owiczs studies in Berlin and he finished it after graduating and returning home in June 1902. Its premiere took place on March 21, 1903 in Berlin, and the Polish premiere on April 7, 1903 in Lviv. The symphony has a classic, four-movement structure, but in terms of architecture it is much closer to symphonic poems. It consists of the movements: 1. Andante. Allegro 2. Andante non troppo 3. Vivace 4. Allegro maestoso. ''In terms of orchestration and instrumentation technique it represents Kar owiczs early, academic period. The composer still used double wind enriched with piccolo flute, unlike in his later orchestral works the symphonic poems. The orchestration of the work indicates that the composer was guided by Tchaikovskys symphonic model. Kar owicz here still willingly operates with various sound blocks of entire instrumental groups, treating them in a choral manner, with tight chordal pillars'' (Leszek Polony). Before the Polish premiere the composer gave a comprehensive literary programme of the work in the Lviv newspaper S owo Polskie, in which he referred to each consecutive movement of the Symphony. In his last words he wrote, ''We hear a hymn of revival, at first quiet and sweet, then wider and wider, and fuller. Already the time has come; to hear the fanfare. Only one more step! And although the spirits fall again in doubt, we hear a powerful and solemn hymn of rebirth.''.
SKU: HL.14005373
Television Music.
SKU: PR.44641242L
UPC: 680160617531.
August 4, 1964 was commissioned by the Dallas Symphony for the 2008 celebration of President Lyndon B. Johnson’s centennial year. The 75-minute oratorio focuses on two events that came to a head on August 4, 1964, events that defined LBJ’s presidency: the discovery of the bodies of three slain civil rights workers in Mississippi, and the bombing of North Vietnam, which accelerated U.S. involvement in the Vietnam war. Gene Scheer’s thoroughly-researched libretto includes actual transcripts of White House phone conversations and government documents, as well as letters from the mothers of the slain civil rights workers.
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