SATB Choir (SATB)

SKU: HL.48188819

Composed by Paul Ladmirault. Leduc. Romantic. Softcover. Heugel & Cie #HE33624. Published by Heugel & Cie (HL.48188819).

English.

The coal seller is a song for SCTB a cappella by Paul Ladmirault. The song was written with a main theme, two variations and a coda, and features a total of 5 verses. The lyrics remind us of a time when coal sellers came to town to sell merchandise. To be sung a cappella, all in andantino, this song is very lyrical and has some polyphonic aspects and some merismas. Each verse contains different lyrics, all revolving around the coal seller and his life: - Verse 1: this verse settles the action, with the seller trying to sell coal in the city - Verse 2: the seller is asked how much is the cost of a pound of coal - Verse 3: he is asked where his wife is - Verse 4: the beauty of his wife is highlighted - Verse 5: the seller explains why his shirt is so black Paul Ladmirault (1877-1944) was a French composer. He composed numerous pieces including: operas, ballets, orchestral works, chamber music and vocal music..

SKU: ST.MB88

Composed by William Croft. Edited by H Diack Johnstone. Library Volumes. Edited by H Diack Johnstone. First published in 2009. Pages: 144. Format: Hardback. Dimensions (mm): 330 x 254 x 18. Full Score. Stainer & Bell Ltd. #MB88. Published by Stainer & Bell Ltd. (ST.MB88).

ISBN 9790220221996.

Hitherto unpublished, the four trio sonatas and two fivepart sonatas by William Croft, which came to light in 1977, are among the most interesting and rewarding of English chamber works to have been written in the period between the trio sonatas of Purcell and those of Boyce and Arne. Possibly first heard at the concerts of the musical smallcoals man, Thomas Britton, they are complemented by six sonatas for two solo recorders, and three violin sonatas that are amongst the earliest printed works in this genre by an English composer.

Chamber Music Flute, Harp, Viola

SKU: PR.114423470

Composed by Shulamit Ran. Set of Score and Parts. 24+12+12+16 pages. Duration 13 minutes. Theodore Presser Company #114-42347. Published by Theodore Presser Company (PR.114423470).

ISBN 9781491137314. UPC: 680160687473.

A commission from the Santa Fe Chamber Music Festival, for any combination of instruments of her choosing, quickly sparked Shulamit Ran to create a trio for Flute, Viola, and Harp. She writes of this instrumentation: “something about its color palette reminded me of the image I have of Santa Fe as a sun-drenched city of warm hues, a thriving arts scene, and a spirit of relaxed tolerance.” In this subtle, yet dramatic work, the instruments begin the journey with distinct, contrasting musical personalities, which gradually begin to coalesce, though not without surprise twists along the road.
Being commissioned by the Santa Fe Chamber Music Festival to create a new work for the major milestone of its 50th anniversary was both an honor and a special delight. My choice of the flute, viola, and harp combination for this composition was reached quickly and almost instinctively, motivated not only because I relished the thought of composing for an instrumental ensemble I had not previously written for, but also because something about its color palette reminded me of the image I have of Santa Fe as a sun-drenched city of warm hues, a thriving arts scene, and a spirit of relaxed tolerance.In All Roads Leading I treat the instruments intermittently as three distinct characters who have their own individual “voices” and musical materials, while at other times they coalesce into a single, more unified entity. In the sections expressive of the instruments’ individual “souls”—as I like to call them—the music ranges from the songful, to the impassioned, but also the volatile. In contrast, where all three instruments act as a single entity, the music tends to be highly rhythmic, sometimes dance-like, even angular, and spiky.As the work progresses, the boundaries between these contrasting approaches become deliberately blurrier and more intertwined, perhaps reminding one of a tale with various twists and turns in the plot. And although eschewing a formal recapitulation, various motivic threads as well as emotive “states” are eventually brought full circle, as if to fulfill an intended role that crystallizes only as All Roads Leading plays out its full journey. Simultaneously with the general unwinding and relaxation that is reached nearthe end, a mutation of an earlier more threatening element appears at the very closing of the work, perhaps a reminder that the unknown always lies ahead.

Concert band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Soprano Clarinet 1-3, Eb Alto Clarinet, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Cornet (in Bb) 1-3, Trumpet (in Bb) 1/2, French Horn 1-4 , Trombone 1-3, Euphonium, Tuba, Stri) - grade 4

SKU: CN.S11242

Composed by Adam Gorb. Arranged by Michael Brand. Band Music. Score only. Duration 4:20. Published by G & M Brand Music Publishers (CN.S11242).

Scenes from an English Landscape is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end of the work, both versions of the theme are stated together to bring the piece to a triumphant climax.

This is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. I imagined a community of villagers coming out of church and filling a village square with their vibrant presence. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end o the work, both versions of the theme are stated together to bring the piece to a triumphant climax. Adam Gorb was born in Cardiff and started composing at the age of ten. His first work broadcast on national radio was written when he was fifteen. He studied at Cambridge University (1977-1980) and the Royal Academy of Music (1991-1993) where he graduated with the highest honours including the Principal's Prize. He has been on the staff at the London College of Music and Media, the junior Academy of the Royal Academy of Music and, since 2000 he has been the Head of School of Composition at the Royal Northern College of Music in Manchester . International recognition came in 1994 with the US Walter Beeler Prize for his work Metropolis . With it began what has developed into probably the most important wind ensemble catalogue by a contemporary composer, ranging from extremely challenging to the most accessible, at all technical levels, seized on by players internationally, widely recorded and now absolutely central to the world's wind repertoire. Equally important though are his works for dance, and concert pieces like the chamber orchestral Weimar , the Violin Sonata , a Clarinet Concerto for the Royal Liverpool Philharmonic Orchestra and Diaspora for strings (for the Goldberg Ensemble). Deceptively mainstream at first glance, they display the same inventive brilliance, pulsating sound world, striking use of rhythm and an undogmatic absence of stylistic hang-ups to embrace jazz and serialism in works where power, poetry, irony and pathos, often underlaid by a theatrical and deeply subversive element, coalesce in an integrated, highly individual musical voice. Gorb is also not afraid to draw on the vivid musical heritage of his Jewish roots, sometimes directly, often in a more subsumed or radically creative way. The crucial and consistent feature of Gorb's work though is that it communicates strongly without patronizing players or audiences. He firmly believes that if contemporary music - any music - does not impact on listeners then its message is irrelevant; it is lost.