Orchestra string orchestra - Grade 2.5

SKU: KJ.SO357F

Composed by Frank Woodruff. Score only. Neil A. Kjos Music Company #SO357F. Published by Neil A. Kjos Music Company (KJ.SO357F).

UPC: 084027044001.

A perfect novelty selection for concerts, recruitment programs, fundraisers, and more! Students will have a blast with this one and it will become an instant favorite. No shifting or position work required.

Duration: 2:20.

SKU: BR.BDV-382

Complete Letters in 35 Volumes and Supplements. Composed by Richard Wagner. Edited by Gertrud Strobel and Werner Wolf. Linen. Complete works/textbook. Romantic period. Complete Works. 584 pages. Deutscher Verlag fur Musik #BDV 382. Published by Deutscher Verlag fur Musik (BR.BDV-382).

ISBN 9783370002386. 5.5 x 8.5 inches. German.

With the publication of Volume 11 in November 1999, Werner Breigs fundamentally new scholarly concept of Richard Wagners complete letters begins to make itself felt more strongly. The meticulously annotated volumes are illustrated with facsimiles and little known photos. Further enhancing the value of this edition are a number of letters, which were hitherto practically unavailable and are published here for the first time. The commentaries are based on many previously unpublished documents.

Concerning Volume 10 (published one year later than Volume 11) we have obtained the following fax by the English Wagner expert Stewart Spencer, who wittily praises Werner Breig's fundamental new concept:

There is a general problem of reviewing such magnificent volumes. They are the yardstick by which all other writings on Wagner will be judged. It is like sending someone to inspect the standard metre rule in Paris and asking them to review it. All one can say is that it exists and that it is in a class of its own. I'd like to congratulate you on its publication and thank you most warmly for picking up this edition. (Stewart Spencer, October 11, 2000)

Im Sommer 1861 kommt es zur endgultigen Trennung des Ehepaars Wagner. Nach Auflosung des gemeinsamen Pariser Haushalts lasst sich Minna Wagner in Dresden nieder wo sie ihre letzten Lebensjahre verbringt. All dies ist in den Briefen detailliert nachzulesen daneben aber auch die kunstlerischen Erfolge des Jahres: In Frankfurt dirigiert Wagner zum ersten Mal seinen ,,Lohengrin (zwolf Jahre nach der Urauffuhrung!) in Leipzig stellt er die ,,Meistersinger-Ouverture vor und in Wien veranstaltet er Konzerte mit Szenen aus seinen Opern. Biographisch einschneidend sind die vollstandige Amnestierung - nun darf Wagner auch wieder den Boden seiner sachsischen Heimat betreten - sowie die weitere Entfremdung und schliesslich die endgultige Trennung von seiner Ehefrau Minna.

Fanfare Band - Grade 4

SKU: BT.1106-04-020-MS

Arranged by Peter Kleine Schaars. Peter's Popular Collection. Pop & Rock. Set (Score & Parts). Composed 2004. Music Sales #1106-04-020 MS. Published by Music Sales (BT.1106-04-020-MS).

In his capacity as staff arranger of the Royal Marine Band of the Dutch Navy this arrangement is one of the best loved by Peter Kleine Schaars' band. Elvis in Concert features the twelve greatest his of 'The King, so musicians won't have time to get bored! In addition, this compelling Elvis medley contains delightful moments of recognition for your audience too!

In seiner Funktion als Stabsarrangeur der Marinekapelle der Königlichen Marine der Niederlande hat Peter Kleine Schaars dem Unterhaltungsmusikprogramm dieser Weltformation seinen Stempel aufgedrückt. Zwölf Jahre spielte die Kapelle Bearbeitungen aus seiner Feder. Zu den besten Arrangements von Peter Kleine Schaars zählt sicherlich Elvis in Concert, in welchem er sieben Minuten lang die größten Hits des Kings Revue passieren lässt. Dieses mitreißende Medley ist ein wahres Elvis-Festival, das Musiker und Publikum begeistern wird!

Concert Band/Harmonie - Grade 4

SKU: BT.1511-08-140-MS

Composed by Benny Andersson, Bjorn Ulvaeus, and Stig Anderson. Arranged by Stefan Schwalgin. Ovation Series. Pop & Rock. Score Only. Composed 2007. 40 pages. Music Sales #1511-08-140 MS. Published by Music Sales (BT.1511-08-140-MS).

9x12 inches. English-German-French-Dutch.

In this fantastic medley, Stefan Schwalgin has used nine of Abba’s timeless hits to produce a piece, which demonstrates the wide-ranging repertoire of this timeless Swedish group. The alternating instrumentations and atmospheres guarantee a varied, sparking piece, which is certain to have your audience singing along.

Sinds de Zweedse popgroep Abba het in 1982 voor gezien hield, zijn er geregeld revivals van de muziek van het viertal geweest. Een voorbeeld hiervan is de in Duitsland populaire show Abba Magic! - een uitstekende imitatie vanAbba, inclusief originele kostuums. Maar eigenlijk kun je van een revival bijna niet spreken, want de legendarische hits van Abba zijn nooit weggeweest. Stefan Schwalgin heeft in zijn medley maar liefst negen hits verwerkt, waarmeehij een breed spectrum uit het rijke repertoire van Abba presenteert. De wisselende instrumentaties en stemmingen garanderen een gevarieerd, sprankelend geheel.

Dieses großartige Medley von Stefan Schwalgin lässt die 70er wieder aufleben! ABBA Magic! bringt die Magie des schwedischen Erfolgsquartetts auf die Bühne zurück mit neun unvergessenen Ohrwürmern aus dem reichhaltigen ABBA-Fundus. ABBA Magic! hält genau das, was der Name ABBA verspricht: Mitreißende Musik, die auch heute an Aktualität nichts verloren hat. Ein magisches ABBA”-Erlebnis!

Stefan Schwalgin fait revivre les années 70 avec un nouveau medley de chansons du légendaire groupe suédois Abba. Abba Magic! est l’image du groupe : magique, électrique, sémillant, rafraîchissant et toujours actuel ! Adoptez « l’Abba attitude ».

Un splendido medley di Stefan Schwalgin che ci riporta gli anni ’70. ABBA Magic! fa rivivere la magia del quartetto svedese che ha accompagnato i meno giovani di oggi durante gli anni della gioventù con Waterloo, S.O.S., Happy New Year, So Long, Money, Money, Money, Hasta Manana, Mamma Mia, I Do I Do I Do e Thank You for the Music.

String Quartet (Study Score)

SKU: HL.51487272

Study Score. Composed by Alexander Zemlinsky. Edited by Dominik Rahmer. Henle Music Folios. Classical. Softcover. G. Henle #HN7272. Published by G. Henle (HL.51487272).

UPC: 840126989366. 6.75x9.5x0.245 inches.

Alexander Zemlinsky's music was long unjustly overshadowed by what was regarded as the “more progressive” Second Viennese School. Although Zemlinsky was close friends with its protagonist Arnold Schönberg, he never did take the latter's radical step into dodecaphony. At the same time, he composed works that were no less original or fully fledged. Composed between 1913 and 1915, his Second String Quartet in particular pushed the contemporaneous understanding of form and tonality to its limits. With just one movement but spanning over 1,200 measures, this multi-faceted work numbers among the most significant contributions to the genre of the time and has long merited a critical new edition. The Urtext edition by G. Henle Publishers corrects many errors and inaccuracies in the first edition that came to light after careful comparison with the autograph sources in Vienna and Washington. For the first time, too, the metronome markings that survive only in one of Zemlinsky's letters have been incorporated. Editorial work was kindly supported by the Alexander Zemlinsky Endowment Fund in Vienna.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

Guitar

SKU: UT.CH-289

Edited by Piero Bonaguri. Saddle stitching. Piero Bonaguri Collection. Classical. Ut Orpheus #CH 289. Published by Ut Orpheus (UT.CH-289).

ISBN 9790215325852. 9 x 12 inches.

Giovanni Podera: Fantasia (In memoriam Joaquín Rodrigo)
Marco Reghezza: Nana Estrellada
Marco Simoni: Junto a Rodrigo
Marco Smaili: Fronda de la tarde (Homenaje a Joaquín Rodrigo)
Paolo Ugoletti: Fuga a 4 voci

Following the successful publication of Homenaje a Rodrigo (2015), containing four pieces by Alessandro Spazzoli – one of which was performed in the presence of the composer’s daughter, Cecilia Rodrigo, during her visit to the International Convention in Alessandria –, here is the second volume. It contains more tributes to Rodrigo written on my input by five well-known Italian and Spanish composers, two of whom are also guitarists and have therefore written the fingering for their own pieces.
Giovanni Podera plunges us into a typically Rodrigo-like atmosphere with his evocative Fantasia, while the following three compositions are full of direct quotations from pieces also for guitar by the great composer from Valencia. Thus, Marco Simoni, in his expressive Junto a Rodrigo – which also provides the title to the volume – plays with themes taken from Junto al Generalife and from Dos piezas caballerescas for a cello ensemble as well as hinting at reminiscences of Tiento antiguo. As for Marco Smaili, in his impressionistic Fronda de la tarde, he evokes quite evidently Zarabanda lejana and Invocación y Danza, but there are more hidden references to Caminos de Santiago and even to the very famous Concierto de Aranjuez. Marco Reghezza builds his heart-breaking Nana estrellada on a sequence of chords used by Rodrigo in the fantasia ¡Que buen caminito!.
On the other hand, there are no direct quotations and echoes of Rodrigo’s way of writing in the Fuga a quattro voci by Paolo Ugoletti. However it was Rodrigo himself who constructed four-part imitative passages for guitar in Pasacalle and in the Ricercare of the Fantasia para un Gentilhombre. The close polyphony of the piece by Ugoletti may be considered as a tribute to this kind of craft shown by Rodrigo who, like Ugoletti, was able to write such dense and idiomatic counterpoint without being a guitar-player.
I am pleased that this volume comes out in the imminence of the 20th anniversary of the disappearance of the illustrious Spanish composer who gave so much to the musicians – and not only to them.
(Piero Bonaguri)

Muchas gracias por este emotivo y excelente musical homenaje a mi padre. La edición es excelente y la difundiremos con todos nuestros medios por las redes sociales a nuestro alcance. Ha sido un gran trabajo por su parte, fruto de sus grandes conocimientos guitarrísticos y su devoción por Joaquín Rodrigo.  Le reitero mi gratitud y mi felicitación con el ruego transmita a los cinco compositores mi felicitación y deseos de éxito.
(Cecilia Rodrigo).

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3 and more.

SKU: PR.16500100F

Hymns for Wind Ensemble. Composed by Dan Welcher. Sws. Full score. 48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100F. Published by Theodore Presser Company (PR.16500100F).

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

SKU: SU.00220171

Composed by Maurice Ravel. Woodwinds, Clarinet. CD (PDF Scores). CD Sheet Music #00220171. Published by CD Sheet Music (SU.00220171).

The complete Clarinet (including Eb and Bass Clarinet) parts [CD-ROM] for the 46 orchestral works included in The Orchestra Musician's CD-ROM Library™, Volume 7: Ravel, Elgar and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: CHADWICK Symphonic Sketches; DELIUS Brigg Fair, In a Summer Garden, On Hearing the First Cuckoo in Spring, Summer Night on the River; D'INDY Symphony on a French Mountain Air; DUKAS Symphony in C, La Péri, Sorcerer's Apprentice; ELGAR Cockaigne Overture, Enigma Variations, Falstaff, Froissart, In the South, Introduction and Allegro, Pomp and Circumstance Marches 1-4, Serenade for Strings, Cello Concerto, Violin Concerto, Symphonies 1 & 2; GRIFFES Pleasure Dome of Kubla Khan, Poem for Flute, White Peackock; HOLST The Planets; NIELSEN Symphonies 1-5, Violin Concerto, Helios Overture, Maskarade Overture and Dance; RAVEL Alborada del gracioso, Daphnis et Chloé Suites 1 & 2, Mother Goose Suite, Pavane pour une infante défunte, Rhapsodie Espagnole, Le Tombeau de Couperin, La Valse, Valses Nobles et Sentimentales Visit for more information

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

Viola (solo: clar - 2.0.0.2 - 2.0.0.0 - str)

SKU: BR.OB-4447-19

Composed by Wolfgang Amadeus Mozart. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Solo concerto; Classical. Part. 12 pages. Duration 31'. Breitkopf and Haertel #OB 4447-19. Published by Breitkopf and Haertel (BR.OB-4447-19).

ISBN 9790004309728. 10 x 12.5 inches.

Thanks to a detailed sketch, we know that Mozart originally wrote his famous Clarinet Concerto K. 622 for basset horn in G or A. It was only in the early editions dating from the 19th century that this work - considered as the Clarinet Concerto par excellence - became unproblematic to play an the A clarinet. However, source studies have revealed that this was made possible only at the price of considerable un-Mozartian alterations of the solo Part. Sabine Meyer, Wolfgang Meyer and Reiner Wehle, the members of the Trio di Clarone, haue eliminated some of these modifications in their new edition, restoring Mozart's original intentions. However, their critical revision in no way impedes the performability of the A-major Concerto.

Die Neuausgabe eines Klavierauszuges verdient besonderes Interesse, da als Herausgeber mit Sabine Meyer, Wolfgang Meyer und Reiner Wehle uberaus kompetente Musiker fungieren. Die Sorgfalt, mit der gearbeitet wurde, merkt man sowohl dem Schriftbild als auch dem informativen Vorwort an.(Das Liebhaberochester)

Violoncello (solo: clar - 2.0.0.2 - 2.0.0.0 - str)

SKU: BR.OB-4447-23

Composed by Wolfgang Amadeus Mozart. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Solo concerto; Classical. Part. 8 pages. Duration 31'. Breitkopf and Haertel #OB 4447-23. Published by Breitkopf and Haertel (BR.OB-4447-23).

ISBN 9790004309735. 10 x 12.5 inches.

Thanks to a detailed sketch, we know that Mozart originally wrote his famous Clarinet Concerto K. 622 for basset horn in G or A. It was only in the early editions dating from the 19th century that this work - considered as the Clarinet Concerto par excellence - became unproblematic to play an the A clarinet. However, source studies have revealed that this was made possible only at the price of considerable un-Mozartian alterations of the solo Part. Sabine Meyer, Wolfgang Meyer and Reiner Wehle, the members of the Trio di Clarone, haue eliminated some of these modifications in their new edition, restoring Mozart's original intentions. However, their critical revision in no way impedes the performability of the A-major Concerto.

Die Neuausgabe eines Klavierauszuges verdient besonderes Interesse, da als Herausgeber mit Sabine Meyer, Wolfgang Meyer und Reiner Wehle uberaus kompetente Musiker fungieren. Die Sorgfalt, mit der gearbeitet wurde, merkt man sowohl dem Schriftbild als auch dem informativen Vorwort an.(Das Liebhaberochester)

Guitar - intermediate

SKU: M7.VOGG-85

Composed by Peter Bursch. Sheet music. Incl. TAB. Voggenreiter #VOGG 85. Published by Voggenreiter (M7.VOGG-85).

ISBN 9783802400858.

Für alte und junge Hippies Mit über 100 Songs, die sich mit Spaß singen und spielen lassen. Von den Beach Boys, Joan Baez, Bob Dylan, Simon & Garfunkel, John Denver, Reinhard Mey, Fugees u. v. a. Dazu die richtigen Griffe, gute Gitarrenbegleitungen, Tabulaturen und alle Texte. Mit Hintergrundwissen und Entstehungsgeschichte zu den Liedern und ihren Interpreten. Alles Wichtige über die Gitarre und andere Folk-Instrumente. Songliste: Alberta, All around my hat, All my trials, Amazing grace, Banana-Boat (Day-O), Banks of the Ohio, Barbara Allen, Bella ciao, Can the circle be unbroken, Catch the wind, Cocaine, Colours, Come all ye fair and tender ladies, Days of '49, Der Deserteur, Der Winter ist vergangen, Die freie Republik, Die Gedanken sind frei, Die Moorsoldaten, Donna, Donna, Drill ye tarriers, drill, East Virginia, El condor pasa, Es dunkelt schon in der Heide, Es geht ein' dunkle Wolk' herein, Es saß ein klein wild Vögelein, Es zogen einst fünf wilde Schwäne, Go down, Moses, Greensleeves, Grizzly bear, Guantanamera, Gypsy Rover, Havah nagila, Heute hier, morgen dort, House of the rising sun, Ich komme schon durch manche Land, (La Marmotte), If I had a hammer, I'll fly away, In 1841 (Paddy works on the railway), Jackaroe, John Barleycorn, Joshua fit the battle of Jericho, Kalinka, Killing me softly, Kinder, Kisses sweeter than wine, Kumbaya, Lady in black, La-le-lu, La Marmotte, (Ich komme schon durch manche Land), Lady in black, Little beggarman, Lord Franklin, Matty Groves, Mein Vater wird gesucht, Mr. Bo Jangles, Nehmt Abschied, Brüder, Oh, freedom, Oh Susanna, Pick a bale of cotton, Plaisir d'amour, Pretty Peggy-O, Puff, the magic dragon, Sag mir, wo die Blumen sind?, St. James Infirmary, Santy Anno, Scarborough Fair, Should auld acquaintance (Auld lang syne), Sloop John B., Sometimes I feel like a motherless child, Stewball, Streets of London, Take me home, country roads, The bonny lass of FYVIE-O, The circle game, The cuckoo, The Foggy Dew, The last thing on my mind, The marvelous toy, There but for fortune, Three drunken maidens, The trees they grow high, This land is your land, Three drunken maidens, Trotz alledem, Turn, turn, turn, Über den Wolken, Un as der Rebbe singt, Waxie's Dargle, Wayfaring stranger, We shall overcome, What shall we do with the drunken sailor?, Where have all the flowers gone?, Whiskey in the jar (Gilgary Mountain), Will ye go, lassie, go (Wild Mountain Thyme).

Piano and orchestra

SKU: FG.55011-372-5

Composed by Matthew Whittall. Study score. Fennica Gehrman #55011-372-5. Published by Fennica Gehrman (FG.55011-372-5).

ISBN 9790550113725.

Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss.
Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water.
The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound.
It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.

Concert Band/Harmonie - Grade 4

SKU: BT.AMP-472-140

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Score Only. Composed 2019. 50 pages. Anglo Music Press #AMP 472-140. Published by Anglo Music Press (BT.AMP-472-140).

English-German-French-Dutch.

A Sevenoaks Suite was commissioned by the Sevenoaks and Tonbridge Concert Band from Kent in the south-east of England. The suite describes 3 famous landmarks in the Sevenoaks and Tonbridge area: ‘Knole Park’, situated to the south-east of Sevenoaks. ‘The Chapel - Tonbridge School’: This movement centres around a hymn-like chorale, depicting the years of worship that have taken place within the chapel, and ‘The Vine Bandstand’ suggesting the type of music often played in bandstands. It is in march form, but is not actually a march throughout, veering off into other styles before ending emphatically.

A Sevenoaks Suite werd geschreven in opdracht van de Sevenoaks and Tonbridge Concert Band uit Kent, in het zuidoosten van Engeland. De suite beschrijft drie beroemde landschapselementen en bouwwerken in de buurt van Sevenoaks en Tonbridge: als eerste ‘Knole Park’, dat ten zuidoosten van Sevenoaks ligt. Dan volgt ‘The Chapel Tonbridge School’, een deel dat is opgebouwd rond een hymne-achtig koraal. ‘The Vine Bandstand’ doet denken aan het type muziek dat vaak in muziekpaviljoens wordt gespeeld. Dit laatste deel is gecomponeerd in marsvorm, maar het is geen complete mars, in die zin dat er ook wordt afgedwaald naar andere stijlen voordat het werk eindigt in eenkrachtig slot.

A Sevenoaks Suite wurde von der Sevenoaks and Tonbridge Concert Band aus Kent im Südosten Englands in Auftrag gegeben. Die Suite beschreibt drei berühmte Sehenswürdigkeiten in der Gegend von Sevenoaks und Tonbridge: Knole Park“ liegt südöstlich von Sevenoaks, The Chapel Tonbridge School“ dreht sich um einen hymnenartigen Choral, der die vielen Gottesdienste beschreibt, die in der Kapelle stattgefunden haben, und The Vine Bandstand“ deutet die Art von Musik an, die oftmals in Musikpavillons gespielt wird. Der Satz ist daher in Form eines Marsches geschrieben, auch wenn er nicht die ganze Zeit wie ein Marsch klingt, und geht in andere Stilarten über, bevor er energischendet.

A Sevenoaks Suite est une commande l’Harmonie de Sevenoaks et Tonbridge, dans le Kent, au sud-est de l’Angleterre. Cette suite en trois mouvements dépeint trois lieux célèbres aux environs de ces villes. « Knole Park » évoque un parc au sud-est de Sevenoaks. Fondé sur un choral en forme d’hymne, « The Chapel Tonbridge School » représente les années de pratiques religieuses dont la chapelle a été témoin. Enfin, « The Vine Bandstand » rappelle les styles typiques des kiosques musique. Ce mouvement est en forme de marche, mais s’en écarte parfois en faveur d’autres genres avant une conclusion énergique.

SKU: BR.BV-410

Complete Letters in 35 Volumes and Supplements. Composed by Richard Wagner. Edited by Andreas Mielke. Linen. Buchverlag Breitkopf & Hartel (Music Books). Romantic period. Complete Works. 656 pages. Breitkopf and Haertel #BV 410. Published by Breitkopf and Haertel (BR.BV-410).

ISBN 9783765104107. 5.5 x 8.5 inches. German.

With the publication of Volume 11 in November 1999, Werner Breig's fundamentally new scholarly concept begins to make itself felt more strongly. All editorial differences aside: with respect to their contents, Volumes 9-11 can be neatly categorized as the Tristan letters volumes, the genesis of each act of Tristan und Isolde can be assigned to one specific chronological section. Wagner was working on the first act (beginnung his correspondance with Mathilde Wesendonck at the same time) in Zurich during the period of the letters compiled in Volume 9. Volume 10 plays in Venice and documents the origin of the second act. And in Volume 11, the reader can relive the completion of the epoch-making stage work in the letters Wagner sent from Lucerne. Concerning this Volume we have obtained the following fax by the English Wagner expert Stewart Spencer, who wittily praises Werner Breig's fundamental new concept: There is a general problem of reviewing such magnificent volumes. They are the yardstick by which all other writings on Wagner will be judged. It is like sending someone to inspect the standard metre rule in Paris and asking them to review it. All one can say is that it exists and that it is in a class of its own. I'd like to congratulate you on its publication and thank you most warmly for picking up this edition. (Stewart Spencer, October 11, 2000).