| The Blue Ridge Choral SATB SATB, Piano GIA Publications
SATB choir, piano accompaniment SKU: GI.G-EH1006 Composed by Elaine Hagen...(+)
SATB choir, piano accompaniment SKU: GI.G-EH1006 Composed by Elaine Hagenberg. Music Education. Octavo. 12 pages. GIA Publications #EH1006. Published by GIA Publications (GI.G-EH1006). UPC: 748769410066. Text by Harriet Monroe. Elaine Hagenberg captures the hushed majesty of an evening in the Blue Ridge Mountains, with crystal clear melodies and fervent harmonies illuminating the poem of Harriet Monroe. The ascent and descent of the opening lines trace the mountains’ silhouette against the sky, followed by the treble and bass voices that draw us by turn to view each detail of the scene and listen for the wisdom of the mountains. Accomplished high school choirs and beyond will find beauty and meaning as they explore this piece. $2.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Keyboard of the Winds Piano solo Theodore Presser Co.
Chamber Music Piano SKU: PR.110418160 Composed by Stacy Garrop. Performan...(+)
Chamber Music Piano SKU: PR.110418160 Composed by Stacy Garrop. Performance score. With Standard notation. 16 pages. Duration 8:30. Theodore Presser Company #110-41816. Published by Theodore Presser Company (PR.110418160). ISBN 9781491114049. UPC: 680160640393. 9 x 12 inches. Stacy Garrop began hiking in northern Colorado’s Rocky Mountain National Park in her early 20s. From the start, she was drawn to a jagged stretch of rock formations linking Longs Peak to Pagoda Mountain, at over 13,000 feet. These formations are called the “Keyboard of the Winds,†as their thin, spindly peaks suggest splintered keys of an old, broken piano. Inspired by one particular journey the composer took through the Keyboard of the Winds en route to Pagoda’s summit, this work is a tribute to the Keyboard of the Winds. Its fast, whirling gestures depict swirling clouds above, and the musical high points represent a hiker reaching the peak of Pagoda Mountain. These sections are set in contrast with quiet, introspective material embodying the hiker quietly surveying the grandeur and beauty of the valley below, as well as the soaring pinnacle of Longs Peak overhead. I began hiking in the Rocky Mountain National Park in northern Colorado when I was in my early twenties. RMNP is home to some of the most gorgeous mountains in North America, encompassing 265,000 acres of wilderness, flora, and fauna. Among the park’s numerous summits is Longs Peak, a mountain that is 14,259 feet high (the highest in the region). From my earliest days of hiking, I was drawn to Longs Peak, as well as to a jagged stretch of rock formations that link Longs Peak to Pagoda Mountain (which stands at 13,497 feet). These formations are called the Keyboard of the Winds, as their thin, spindly peaks loosely suggest the splintered keys of an old, broken piano.One summer, I made the ascent to Pagoda Mountain using a route that took me along the right side of the Keyboard of the Winds. My hiking partner and I started up the trail in the pre-dawn hours, and the weather was stormy. Dawn had broken by the time we reached the base of the Keyboard, but its peaks were still surrounded by clouds. As we climbed higher and higher, the Keyboard’s thin spires became visible, along with the top of Pagoda Mountain. We reached the summit of Pagoda, admired the view (what we could see through the clouds), and made our descent.My piece is a tribute to the Keyboard of the Winds. The fast, whirling gestures depict swirling clouds, and the musical high points represent a hiker reaching the peaks of the Keyboard. I have contrasted these sections with quiet, introspective material; these embody the hiker quietly surveying the grandeur and beauty of the valley below (on a cloudless day), as well as the soaring pinnacles of Longs Peak and Pagoda Mountain overhead. $18.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| On Jesus Christ's ascent on high (Auf Christi Himmelfahrt allein) Choral SATB Carus Verlag
Orchestra ATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, oboe d'cacci...(+)
Orchestra ATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, oboe d'caccia, trumpet, 2 horns, 2 violins, viola, basso continuo SKU: CA.3112807 Cantata for the Feast of Ascension. Composed by Johann Sebastian Bach. Edited by Julia Ronge. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Ascension. Study score. Composed 1725. BWV 128. 40 pages. Duration 22 minutes. Carus Verlag #CV 31.128/07. Published by Carus Verlag (CA.3112807). ISBN 9790007142841. Text language: German/English. Text: von Ziegler, Christiane Mariane. Text: Christiane Mariane von Ziegler. After breaking off the annual cantata cycle at the end of March 1725 Bach set a series of cantata texts by the Leipzig poet Christiana Mariana von Ziegler, who maintained one of the first literary-musical salons. The large scale chorale chorus ties this work to the chorale cantatas. The central bass aria Auf,auf, mit hellem Schall with solo trumpet is note-worthy since in place of a middle section in the aria, here Bach employs an accompagnato recitative. Score available separately - see item CA.3112800. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Capital Unknowns Subito Music
Chamber Ensemble (flute, oboe, clarinet, bassoon, horn, marimba/vibraphone, harp...(+)
Chamber Ensemble (flute, oboe, clarinet, bassoon, horn, marimba/vibraphone, harp, 2 violin, viola, cello, contrabass) SKU: SU.91770400 For Chamber Ensemble. Composed by Paul Moravec. Chamber Music, Larger Chamber Ensemble. Study Score. Composed 2004. Subito Music Corporation #91770400. Published by Subito Music Corporation (SU.91770400). Instrumentation: fl, ob, cl, bn, hn, marimba/vibr, hp, 2vn, va, vc, cb Duration: Movements: I. The Ascent; II. The Unknowns (1); III. Capitol Critters; IV. The Unknowns (2) Full Score & Parts: available on rental Composed: 2004 Published by: Subito Music Publishing. $45.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ludovico Einaudi - Seven Days Walking: Day One Piano solo Hal Leonard
For Piano. Composed by Ludovico Einaudi. Piano. New Age, Contemporary. Softcov...(+)
For Piano. Composed by
Ludovico Einaudi. Piano. New
Age, Contemporary. Softcover.
Hal Leonard #CH88056.
Published by Hal Leonard
$21.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Alpinia. 3 Pieces for 5 Guitars or Guitar Ensemble (2011) Guitar [Score and Parts] Ut Orpheus
Guitar; Methods and Music for Children SKU: UT.CH-157 Composed by Giorgio...(+)
Guitar; Methods and Music for Children SKU: UT.CH-157 Composed by Giorgio Signorile. Saddle stitching. Classical. Score and Parts. 40 pages. Ut Orpheus #CH 157. Published by Ut Orpheus (UT.CH-157). ISBN 9790215320369. 9 x 12 inches. Vals d'la Masca; Il racconto della Montagna; Sequenze sotterranee
The Alpinia Suite was commissioned and composed for the festival <> and is dedicated to my friend and colleague Elio Galvagno. It was performed for the first time on August 30, 2011, in the Church of San Giovanni in Saluzzo, by an ensemble of professional and student guitarists from all over Europe. This piece was written to commemorate the first ascent of mount Monviso, by William Mathews, Frederick Jacomb, Jean Baptiste Croz and Michel Croz, exactly 150 years before, on August 30, 1861. The first movement is a small Waltz. I imagined a Masca (a sort of alpine pixie, a teasing sprite), dancing all around the house and playing tricks, mostly harmless and funny. The Masca is a legendary and very important character in the folklore of my valleys, and all rationally inexplicable events of everyday life are ascribed to her - such as objects that cannot be found anymore, holes in flour sacks, salt in sugar bowls... The next two movements are a homage to the Mountains. The Tale is a sort of journal, a bright and peaceful chronicle of a hike uphill, in which the beauty of the place is highlighted by an easy harmony and a sweet melody. After this, Underground sequences evokes that same world in a darker and nocturnal way; the faster pace and the choice of repeated and varying patterns are meant to show the transformation of the former environment into something more complex and tormented. Here mountains are a metaphor of human life, warts and all: their sundrenched slopes and their green pasture grasslands, but also their icy and dangerous northern sides, which demand calm, training and caution. (G. Signorile). $27.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Everglades (River of Grass) [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500101F Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F). ISBN 9781491131725. UPC: 680160680252. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| On Jesus Christ's ascent on high (Auf Christi Himmelfahrt allein) Choral SATB [Score and Parts] Carus Verlag
ATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, oboe da caccia, trumpe...(+)
ATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, oboe da caccia, trumpet, 2 horns, 2 violins, viola, basso continuo SKU: CA.3112809 Cantata for the Feast of Ascension. Composed by Johann Sebastian Bach. Edited by Julia Ronge. This edition: urtext. 1x 31.128/21 oboe 1, 1x 31.128/22 oboe 2, 1x 31.128/23 oboe d'amore, 1x 31.128/24 oboe da caccia, 1x 31.128/31 horn 1, 1x 31.128/32 horn 2, 1x 31.128/33 trumpet. Stuttgart Urtext Edition: Bach vocal. Harmony parts. Sacred vocal music, Cantatas, Ascension. Set of Orchestra Parts. Composed 1725. BWV 128. Duration 22 minutes. Carus Verlag #CV 31.128/09. Published by Carus Verlag (CA.3112809). ISBN 9790007207700. Text language: German/English. Text: von Ziegler, Christiane Mariane. Text by Christiane Mariane von Ziegler. After breaking off the annual cantata cycle at the end of March 1725 Bach set a series of cantata texts by the Leipzig poet Christiana Mariana von Ziegler, who maintained one of the first literary-musical salons. The large scale chorale chorus ties this work to the chorale cantatas. The central bass aria Auf,auf, mit hellem Schall with solo trumpet is note-worthy since in place of a middle section in the aria, here Bach employs an accompagnato recitative. Score and parts available separately - see item CA.3112800. $37.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Switchbacks Concert band - Easy FJH
Concert Band Concert Band - Grade 2.5 SKU: FJ.B1786 Composed by Jack Wild...(+)
Concert Band Concert Band - Grade 2.5 SKU: FJ.B1786 Composed by Jack Wilds. Concert Band. FJH Young Band. Score and Part(s). Duration 4:15. The FJH Music Company Inc #98-B1786. Published by The FJH Music Company Inc (FJ.B1786). UPC: 241444405154. English. Embark on an exhilarating climb up a mountain trail with this compelling work that explores both quiet, thoughtful moments and big, powerful themes. After exerting a ton of energy during the ascent, the climber reaches the top and the piece ends as it began while the climber stares breathlessly at the incredible view from the top. About FJH Young Band Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5 $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| On Jesus Christ's ascent on high Choral SATB [Score] Carus Verlag
(Cantata for the Feast of Ascension). Composed by Johann Sebastian Bach (1685-17...(+)
(Cantata for the Feast of Ascension). Composed by Johann Sebastian Bach (1685-1750). Edited by Julia Ronge. For ATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, oboe da caccia, trumpet, 2 horns, 2 violins, viola, basso continuo. This edition: paperback. Stuttgart Urtext edition. Cantatas, Ascension. Full score. Text language: German/English. Composed 1725. BWV 128. Duration 22 minutes. Published by Carus Verlag
$22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| On Jesus Christ's ascent on high (Auf Christi Himmelfahrt allein) Choral SATB Carus Verlag
ATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, oboe da caccia, trumpe...(+)
ATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, oboe da caccia, trumpet, 2 horns, 2 violins, viola, basso continuo SKU: CA.3112803 Cantata for the Feast of Ascension. Composed by Johann Sebastian Bach. Edited by Julia Ronge. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Ascension. Vocal score. Composed 1725. BWV 128. 28 pages. Duration 22 minutes. Carus Verlag #CV 31.128/03. Published by Carus Verlag (CA.3112803). ISBN 9790007140205. Text language: German/English. Text: von Ziegler, Christiane Mariane. Text by Christiane Mariane von Ziegler. After breaking off the annual cantata cycle at the end of March 1725 Bach set a series of cantata texts by the Leipzig poet Christiana Mariana von Ziegler, who maintained one of the first literary-musical salons. The large scale chorale chorus ties this work to the chorale cantatas. The central bass aria Auf,auf, mit hellem Schall with solo trumpet is note-worthy since in place of a middle section in the aria, here Bach employs an accompagnato recitative. Score available separately - see item CA.3112800. $11.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ben Folds -- Rockin' the Suburbs
Piano, Vocal and Guitar Alfred Publishing
(Piano/Vocal Transcriptions). For Keyboard; Piano; Voice. This edition: Piano/V...(+)
(Piano/Vocal Transcriptions). For Keyboard; Piano; Voice. This edition: Piano/Vocal Transcriptions. Book; Personality Book; Piano/Vocal/Chords. Pop/Rock. Published by Alfred Music Publishing
(2)$25.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Timberline Sonata Trumpet, Piano Alias Press
For Trumpet and Piano. Composed by Stephen Lias (1966-). National Park Series...(+)
For Trumpet and Piano.
Composed by Stephen Lias
(1966-). National Park
Series. With Standard
notation. 52 pages. Alias
Press #494-03101. Published
by Alias Press
$28.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Cloudscapes Concert band - Intermediate Excelcia Music Publishing
Concert Band - Grade 3.5 SKU: XC.RCB2401 Composed by Tyler Arcari. Rhapso...(+)
Concert Band - Grade 3.5 SKU: XC.RCB2401 Composed by Tyler Arcari. Rhapsody Grade 3-3.5. Contest/Festival. Set of parts. Excelcia Music Publishing #RCB2401. Published by Excelcia Music Publishing (XC.RCB2401). 9 x 12 inches. This new, semi-programmatic work depicts the journey of hot air balloons from their beautiful and hauntingly calm field glows to their ascent into the clouds. Wonderful harmonic movements and clever impact points, as well as optional visual elements, make this work a theatrical experience fit for wowing your audiences. Take a skyward journey with Composer Tyler Arcari! $80.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony No. 6 [Score] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU: PR.16500104F Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F). ISBN 9781491132159. UPC: 680160681082. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Wind Quintet No. 3 Theodore Presser Co.
Chamber Music Bassoon, Clarinet, Flute, Horn, Oboe SKU: PR.144405920 W...(+)
Chamber Music Bassoon, Clarinet, Flute, Horn, Oboe SKU: PR.144405920 Waldstein. Composed by Robert Martin. Premiere: Strudlhofgasse Quintet, Vienna, Austria. Contemporary. Set of Score and Parts. With Standard notation. Composed 1980. 32+8+8+12+8+12 pages. Duration 11 minutes, 30 seconds. Theodore Presser Company #144-40592. Published by Theodore Presser Company (PR.144405920). UPC: 680160618637. After a promising start as composer, earning respect and awards (a Grammy nomination, a Charles Ives Scholarship, a Fulbright Scholarship, etc.) along the way, Martin turned to Wall Street for almost two decades. Returning now to his first love, he brings us four woodwind quintets written during the years 1971 through 1980. These four quintets, taken together, offer a glimpse into the compositional ascent of a rising composer. $43.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Song Of Ascent Orchestra [Score] Curci
Orchestra (3/piccolo,2,2,bass clarinet,2,dbn - 4,3,3,1, timpani,percussion(5),ce...(+)
Orchestra (3/piccolo,2,2,bass clarinet,2,dbn - 4,3,3,1, timpani,percussion(5),celeste,harp,piano & strings) SKU: PR.576009370 Composed by Alexander Boskovich. Full score. With Standard notation. Duration 14 minutes. Israel Music Institute #576-00937. Published by Israel Music Institute (PR.576009370). UPC: 680160581795. $65.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Ascention Theodore Presser Co.
Choral Cymbal, Glockenspiel, Horn, Organ, Timpani, Trombone, Trumpet 1, Trumpet ...(+)
Choral Cymbal, Glockenspiel, Horn, Organ, Timpani, Trombone, Trumpet 1, Trumpet 2, alto voice, bass Trombone, bass voice, soprano voice, tenor voice SKU: PR.31240728M Composed by Lee Hoiby. Contemporary. Set of parts. With Standard notation. 198 pages. Theodore Presser Company #312-40728M. Published by Theodore Presser Company (PR.31240728M). UPC: 680160043507. 9.5 x 13 inches. Key: Bb major. $130.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Psalm 121 Carl Fischer
Choral SA choir, piano SKU: CF.CM9721 I Lift My Eyes. Composed by ...(+)
Choral SA choir, piano SKU: CF.CM9721 I Lift My Eyes. Composed by Austin Hunt. Mjts. 8 pages. Duration 3 minutes, 21 seconds. Carl Fischer Music #CM9721. Published by Carl Fischer Music (CF.CM9721). ISBN 9781491161005. UPC: 680160919604. Key: C major. English. Psalm 121. I will lift up mine eyes unto the hills, from whence cometh my help. My help cometh from the Lord, which made heaven and earth. He will not suffer thy foot to be moved: he that keepeth thee will not slumber. Behold, he that keepeth Israel shall neither slumber nor sleep. The Lord is thy keeper: the Lord is thy shade upon thy right hand. The sun shall not smite thee by day, nor the moon by night. The Lord shall preserve thee from all evil: he shall preserve thy soul. The Lord shall preserve thy going out and thy coming in from this time forth, and even for evermore. --Psalm 121, King James Version Psalm 121, from the canonical Book of Psalms, is one of fifteen psalms (meaning sacred song or hymn) included in the Songs of Ascents (Psalms 120-134). These powerful texts about hope and perseverance were likely chanted by Jewish pilgrims as they traversed the ascending road into Jerusalem, which sits atop a hill known as Mount Zion. Thousands of years later, the words of Psalm 121 continue to uplift and inspire those afflicted with pain, grief, or suffering; one need only look to the hills.  . “I will lift up mine eyes unto the hills, from whence cometh my help. My help cometh from the Lord, which made heaven and earth. He will not suffer thy foot to be moved: he that keepeth thee will not slumber. Behold, he that keepeth Israel shall neither slumber nor sleep. The Lord is thy keeper: the Lord is thy shade upon thy right hand. The sun shall not smite thee by day, nor the moon by night. The Lord shall preserve thee from all evil: he shall preserve thy soul. The Lord shall preserve thy going out and thy coming in from this time forth, and even for evermore.â€â€”Psalm 121, King James VersionPsalm 121, from the canonical Book of Psalms, is one of fifteen “psalms†(meaning sacred song or hymn) included in the Songs of Ascents (Psalms 120-134). These powerful texts about hope and perseverance were likely chanted by Jewish pilgrims as they traversed the ascending road into Jerusalem, which sits atop a hill known as Mount Zion.Thousands of years later, the words of Psalm 121 continue to uplift and inspire those afflicted with pain, grief, or suffering; one need only “look to the hills.â€Â . $2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sol ixent al Matterhorn Editions Marc Reift (Swiss import)
Aufgehende Sonne zu der Matterhorn / Soleil levant au Matterhorn / Sole nasce...(+)
Aufgehende Sonne zu der Matterhorn / Soleil levant au Matterhorn / Sole nascente al Cervino. Composed by Joan-Maria Riera-Blanch. Published by Editions Marc Reift (MA.EMR-22830).
$6.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Ascents and Flourishes Brass Quintet: 2 trumpets, horn, trombone, tuba [Score and Parts] Subito Music
Brass Quintet SKU: SU.94010590 For Brass Quintet. Composed by Jame...(+)
Brass Quintet SKU: SU.94010590 For Brass Quintet. Composed by James Lee III. Chamber Music, Brass Quartet/Quintet. Score & Parts. Subito Music Corporation #94010590. Published by Subito Music Corporation (SU.94010590). Instrumentation: Brass Quintet (2 Tpt, Hn, Tbn, Tba) Duration: 5' Composed: 2017 Published by: Subito Music Publishing. $28.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Psalm 121 ("I Lift Up Mine Eyes") for Mixed Choir (SATB) Choral SATB Periferia Music
Mixed Choir (SATB) SKU: AY.V3669PM Composed by Martin Watt. Vocal. Perife...(+)
Mixed Choir (SATB) SKU: AY.V3669PM Composed by Martin Watt. Vocal. Periferia Publishing #V3669PM. Published by Periferia Publishing (AY.V3669PM). ISBN 9790543576803. Martin Watt was born in Standerton in the Mpumalanga Province of South Africa in 1970. He holds a Bachelor's degree from the North-West University in Potchefstroom, a Master's degree from the University of Cape Town, and a Doctorate from the University of Pretoria. Since 2018, he is an associate professor of music theory and composition at the South African College of Music at the University of Cape Town. The 121st psalm of the Book of Psalms is one of 15 psalms classified as a Song of Ascents, believed by scholars to indicate that it was sung by worshippers as they ascended the road to Jerusalem. This English translation of this text (I Lift Up Mine Eyes) is set to music by Martin Watt for double choir (SSAATTBB). $4.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ascentium Concert band [Score] - Intermediate C.L. Barnhouse | | |
| A Psalm of Ascents Choral SATB - Easy Kjos Music Company
SATB choir - Grade 2.5 SKU: KJ.8991 Composed by Gregory Pysh. Collection....(+)
SATB choir - Grade 2.5 SKU: KJ.8991 Composed by Gregory Pysh. Collection. Music for the Church Year. Sacred, Lent. Octavo. Neil A. Kjos Music Company #8991. Published by Neil A. Kjos Music Company (KJ.8991). UPC: 8402701079. An effective anthem for any time, that combines soaring melodies above the pulse of the conga. Lyrical sax and lots of men/women unions. $2.40 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Languido Nascente Piano solo [Score] Ricordi
Piano SKU: HL.50495029 Per Pianoforte. Composed by Fabbio Vacchi. ...(+)
Piano SKU: HL.50495029 Per Pianoforte. Composed by Fabbio Vacchi. MGB. Score Only. Composed 1990. Ricordi #NR133606. Published by Ricordi (HL.50495029). PER PIANOFORTE. $21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Mount of Olives [Score] Carus Verlag
Orchestra Solo STB, Coro SATB (auch Mannerchor TTTBB), 2 Fl, 2 Ob, 2 Clt, 2 Fg, ...(+)
Orchestra Solo STB, Coro SATB (auch Mannerchor TTTBB), 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr, Timp, 3 Trb, 2 Vl, Va, Vc, Cb SKU: CA.2302000 Composed by Ludwig van Beethoven. Edited by Clemens Harasim. Sacred vocal music, Oratorios. Carus Plus. Innovative practice aids, Sacred vocal music, Oratorios. Full score. Op. 85. Duration 55 minutes. Carus Verlag #CV 23.020/00. Published by Carus Verlag (CA.2302000). ISBN 9790007241964. Language: German/English. Text: Huber, Franz Xaver. In his Passion oratorio Christus am Olberge [The Mount of Olives], Beethoven succeeded firstly in building on the 18th century tradition, and secondly in putting his own personal stamp on the nascent genre of German-language oratorio - the Vienna performances of Haydn's Die Schopfung and Die Jahreszeiten had only taken place a few years earlier. In composing the work he looked towards contemporary opera, using a text by an opera librettist to depict in music the dramatic situation of the doubting Jesus in the Garden of Gethsemane and his arrest. Yet we do not do justice to Beethoven's work if we simply regard it as a successor work to Graun's Der Tod Jesu or even Bach's St Matthew Passion. Beethoven's Christus am Olberge is characterized less by religious devotion and much more by the dramatic realization of a specific situation in the Passion story in deeply-felt musical scenes. With its magnificent, almost operatic music, this is a different Passion oratorio which is definitely worth hearing and experiencing - and in this form it is without doubt unique in the history of vocal-instrumental sacred music. The edition follows the first printed edition in music and text; differences in the text in the libretto originally set by Beethoven are given as a second text, and a singable English translation is underlaid. $173.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Song of Ascents Viola [Score] Seesaw Music Corp
Viola SKU: SU.50002680 For Viola. Composed by Allan Blank. Strings...(+)
Viola SKU: SU.50002680 For Viola. Composed by Allan Blank. Strings, Viola. Score. Seesaw Music Corp #50002680. Published by Seesaw Music Corp (SU.50002680). Published by: Seesaw Music. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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