SKU: GI.G-936

UPC: 785147093626.

Visit 2013 Midwest Clinic Page The GIA Composers Collection brings together recordings of the master- works of the most respected composers of all time. Stunningly performed by the North Texas Wind Symphony under the direction of Eugene Corporon, this series also includes extensive liner notes about each composer and his or her contribution to the wind band. George Gershwin (1898–1937) is recognized as one of America’s best-known composers, often mentioned in the same breath as Aaron Copland and Leonard Bernstein. In Bernstein’s words: “Gershwin was certainly one of the true authentic geniuses American music has ever produced. Time and history may even show him to be the truest and most authentic of his time and place.” This incredible recording features the North Texas Wind Symphony, under the direction of Eugene Migliaro Corporon, performing his most beloved works, including Rhapsody in Blue and An American in Paris. This recording is a wonderful tribute to Gershwin’s genius and a true musical treasure. Contents: Cuban Overture (1932), Rhapsody in Blue (1924), An American in Paris (1928), Porgy and Bess: A Symphonic Picture (1943), Promenade: Walking the Dog (1937), Three Preludes (1926), Strike Up the Band (Overture) (1927).

SKU: HL.50602119

ISBN 9781540064462. UPC: 888680966522. 9.0x12.0x0.668 inches.

VINCENZO BELLINI I Capuleti e i Montecchi È serbata a questo acciaro • Il pirata Nel furor delle tempeste • I puritani A te, o cara • GEORGES BIZET Carmen La fleur que tu m'avais jetée • FRANCESCO CILEA L'Arlesiana È la solita storia del pastore... • GAETANO DONIZETTI Don Pasquale Com'è gentil • L'elisir d'amore Quanto è bella • Una furtiva lagrima • La favorita Favorita del re! - Spirto gentil • La fille du régiment Ah ! mes amis - Pour mon âme • Lucia di Lammermoor Tombe degli avi miei - Fra poco a me ricovero • Tu che a Dio spiegasti l'ali • UMBERTO GIORDANO Fedora Amor ti vieta • CHARLES GOUNOD Faust Salut ! demeure chaste et pure • GEORGE FRIDERIC HANDEL Alcina È un folle, è un vile affetto • EDOUARD LALO Le roi d'Ys Puisqu'on ne peut - Vainement, ma bien aimée • JULES MASSENET Manon C'est vrai...- En fermant les yeux o Je suis seul ! - Ah ! fuyez, douce image • Werther Toute mon âme - Pourquoi me réveiller • WOLFGANG AMADEUS MOZART Così fan tutte Un'aura amorosa • Don Giovanni Dalla sua pace • Il mio tesoro • Die Zauberflöte Dies Bildnis ist bezaubernd schön • GIACOMO PUCCINI La bohème Che gelida manina • La fanciulla del West Ch'ella mi creda • Gianni Schicchi Avete torto! - Firenze è comeun albero fiorito • Madama Butterfly Amore o grillo o Addio, fiorito asil • Manon Lescaut Donna non vidi mai • Tosca Recondita armonia • Turandot Nessun dorma! • GIOACHINO ROSSINI Il barbiere di Siviglia Ecco ridente in cielo o ente in cielo • La Cenerentola Sì, ritrovarla io giuro • Guglielmo Tell O muto asil del pianto • PYOTR IL'YICH TCHAIKOVSKY Eugene Onegin Kuda, kuda, kuda vy udalilis • GIUSEPPE VERDI Un ballo in maschera Di' tu se fedele • Rigoletto Questa o quella • Ella mi fu rapita! - Parmi veder le lagrime • La donna è mobile • La traviata Lunge da lei - Dei miei bollenti spiriti.

SKU: P2.60002

This composition grew out of a musical concert in Chicago sometime in 1981. The concert was an outgrowth of public opinion about the superiority of various ensembles in three of the top five US Symphony Orchestras of that period. The Philadelphia Orchestra under Eugene Ormandy had the reputation of having the most luxurious string section of any orchestra in the world. Ormandy was a superior violinist himself, and worked his strings into providing a similar luxurious string sound of which he himself was master. It was agreed that the Boston Symphony had the top woodwind choir, and the Chicago Symphony the best brass choir. An outgrowth of these widely held opinions occurred in Chicago in 1981 when the Chicago Symphony Brass section announced a performance in Symphony Hall. The event attracted a sell out crowd and standing room overflow. Public interest was keen and intense. The detail of the concert included brass solos, duets and trios of a wide variety and concluded with a large brass choir work by a local composer, which had been commissioned to premiere in this concert. The musical evening was marvelous, a brilliant triumph for superlative brass players of world-class quality. Afterwards the players remained on the stage and were beset by hundreds of congratulating fans. The principal horn, Dale Clevenger, was a friend of mine who was present at the International Horn Conference in 1974, when Barry Tuckwell of the London Symphony premiered my Sonata for Horn and Piano. I congratulated Dale on the brass wonders that we had all just witnessed, and commented that the final brass work was somewhat disappointing. Dale said that he and the other players felt the same. At that point, Dale said Why don't you write a work for the Chicago Brass for our next offering? How could I not be complimented by such an invitation? I immediately started to write Stonehenge, having just visited Stonehenge in Britain a month or two earlier. But the Chicago Brass did not have a follow up to their first presentation, so there was no opportunity for my new work to be performed by them. Later there was a premiere in Madison, Wisconsin, by three professional brass quintets who were together hosted by the School of Music of the University of Wisconsin. They were joined by four superb percussionists from the Madison Symphony. Stonehenge received a wonderful ovation from an enthusiastic full house audience, and that led to wide use in the Midwest by other brass groups, including a professional brass choir in Minnesota, which recorded the work superbly, and two different tours of the work by a brass choir from the Indiana University School of Music. The wonderful response to this work's recording and its many performances have been a delight to the composer.