Easy Classics for the Piano * Bach composed by Johann Sebastian Bach (1685-1750). Arranged by Erika Feuchtner Macris. For easy piano. This edition: Paperback. Collection. Easy Classic Composer Series. Classical. Easy. Book. Text Language: English. 64 pages. Published by Santorella Publications

Brass Band

SKU: BT.DHP-1053796-030

Easter Fantasy. Composed by Michael Bilkes. Musica Sacra. Hymns & Chorals. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053796-030. Published by De Haske Publications (BT.DHP-1053796-030).

English-German-French-Dutch.

Fantasia di Pasqua is a fantasy in which traditional Easter melodies have been used. The work is written for brass band with a separate brass quartet which, since this music is often performed in churches, the composer suggests should be positioned on a gallery. This creates a double choir effect and perfectly fits the Renaissance-like style. Each of the melodies is played in various dance-like cadences that, partly because of the double choir effect, will result in a very lively and original performance.

In Fantasia di Pasqua speelt het (koper)kwartet een cruciale rol. De componist raadt aan dit kwartet vanuit een galerij te laten spelen: de zo gecreëerde dubbelkorigheid past bij de enigszins renaissancistische stijl van hetwerk. De gebruikte koraalmelodieën worden alle - veelal dansrijk - door het kwartet uitgevoerd in diverse cadansen, die mede door de dubbelkorigheid resulteren in een levendige en afwisselende uitvoering. Het kwartet hoeft nietper se te bestaan uit twee trompetten (cornetten) en twee trombones, maar kan naar believen worden samengesteld.

In Fantasia di Pasqua wurden traditionelle Osterlieder verwendet. Das Stück ist für Brass Band mit separatem Blechbläserquartett geschrieben, welches bei Aufführungen in der Kirche von der Empore herab spielen sollte. Der so kreierte Doppelchor-Effekt passt ausgezeichnet zum etwas Renaissance artigen Stil, der bewusst gewählt wurde, da die meisten Choralmelodien aus der Renaissance stammen. Auf diese Weise gelingt eine sehr lebhafte und abwechslungsreiche Aufführung der Fantasia di Pasqua.

Fantasia di Pasqua est une fantaisie basée sur des mélodies chorales pascales, issues de la Renaissance. Un quatuor (cuivres/bois) joue un rôle primordial dans le développement de la pièce. La musique pascale étant essentiellement destinée être interprétée dans un lieu de culte, le compositeur préconise de placer le quatuor sur le balcon. L’effet de double chœur ainsi créé donne la pièce un caractère varié et divertissant.

By Tennessee Tech Tuba Ensemble. By Various. For tuba ensemble. Mark Records. Audio CD. Published by Mark Custom Music

Selected Works. By Norman Dello Joio. Piano Collection. 128 pages. Published by G. Schirmer (Associated Music Publishers).

For the Double Bass, Vol. 3 - Piano Accompaniment. By Ambroise Thomas; Armas Jarnefelt; Camille Saint-Saens; Edouard Nanny; Francois-Joseph Gossec; Franz Keyper; George Vance; Giorgio Antoniotti; Giovanni Battista Pergolesi; Ignace Jan Paderewski; J. Gabriel-Marie; Lorenziti; Ludwig Van Beethoven. Edited by Anthony Bianco. Arranged by George Vance. For Piano. Solo part with piano reduction. 126 pages. Published by Carl Fischer.

(38 Organ Settings for Worship or Recital). By Douglas E. Wagner. For organ: 3-staff. Sacred. Intermediate. Published by Lorenz Publishing Company

By Various. Arranged by Carl Strommen. For trombone duet. Trombone Duet. Grade 2-3

Orchestra (2.2.2.2.dble bsn.serp - 2.2.3.0 - timp - str)

SKU: BR.PB-5581

Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Thomas Schmidt. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Symphony; Romantic. Full score. 140 pages. Duration 30'. Breitkopf and Haertel #PB 5581. Published by Breitkopf and Haertel (BR.PB-5581).

ISBN 9790004213919. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.

Violoncello (2.2.2.2.dble bsn.serp - 2.2.3.0 - timp - str)

SKU: BR.OB-5581-23

Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Thomas Schmidt. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Romantic. Part. 16 pages. Duration 30'. Breitkopf and Haertel #OB 5581-23. Published by Breitkopf and Haertel (BR.OB-5581-23).

ISBN 9790004343234. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.