SKU: BT.DHP-1115084-020

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

It may be surprising to see a fanfare piece commissioned by a Japanese ensemble, since fanfare orchestras are typically found in Belgium, Holland and Luxembourg, and also France and Switzerland. Senzoku Gakuen is one of the largest and mostprestigious music universities in Japan, and home to a wide variety of ensembles and orchestras. Since 2006 they have had a fanfare orchestra, which was started by Sotaru Fukaishi, a euphonium teacher who felt further performance opportunity wasneeded for saxhorn instruments. Fukaishi had loved the sound of fanfare orchestras ever since visiting the World Music Contest in Kerkrade (Holland) several years earlier. Jan Van der Roost was involved with this new initiative from the beginning,and they were also joined by Manu Mellaerts for certain projects. The Dean of the music department, Professor Kazuo Tomioka, fully supports the ensemble and commissioned Ostinati. The première took place on June 11th at Maeda Hall inMizonokuchi (Kawasaki) where Senzoku Gakuen is based. The piece opens with an impressive timpani solo, followed by brass and saxophone. The rhythmical pulse remains constant and the music is fiery and assertive in character. A pentatonic melodygradually emerges and the music loses its vehemency and softens. The initial percussion ostinati subsequently recurs and the first section of the piece concludes in a similar mood to the opening. The second movement is sweet and melodic, opening witha long passage for the saxophone family in a minor key. The same theme then appears in the major and is developed upon; the music builds to a majestic orchestral forte, reminiscent of a pipe organ in its sonority. The theme returns in the originalminor key with a change in instrumentation leading the movement to a quiet and peaceful end on a soft E minor chord. The finale starts with percussion: a four-bar pattern is repeated several times over which the movement’s melodic themes areintroduced. These melodic elements are varied and used in different versions and the ostinato idea, which characterizes the entire piece, is highlighted. The theme travels through the orchestra, appearing on various instruments and in variousregisters. It captures the listener’s attention and displays the full range of sound and colour within the fanfare orchestra.

Het is misschien verrassend dat dit fanfarewerk is geschreven in opdracht van een Japans ensemble, aangezien fanfareorkesten vooral te vinden zijn in België, Nederland en Luxemburg, en ook wel in Frankrijk en Zwitserland. SenzokuGakuen is een van de grootste en meest prestigieuze muziekopleidingen van Japan, en de thuisbasis van een grote verscheidenheid van ensembles en orkesten. In 2006 is er een fanfareorkest opgericht, en wel door Sotaru Fukaishi, eeneuphoniumdocent die vond dat er meer mogelijkheden moesten komen voor optredens met saxhoorninstrumenten. Fukaishi had enkele jaren daarvoor genoten van de fanfareklank toen hij het Wereld Muziek Concours in Kerkrade bezocht. DeBelgische componist Jan Van der Roost was van het begin af aan betrokken bij dit nieuwe initiatief, en ook Manu Mellaerts werd voor een aantal projecten aangetrokken. Het hoofd van de muziekfaculteit, professor Kazuo Tomioka, staatgeheel achter het ensemble en gaf de opdracht tot het schrijven van Ostinati. De première vond plaats op 11 juni in de Maeda Hall in Mizonokuchi (Kawasaki), waar Senzoku Gakuen is gevestigd. Het werk begint met een indrukwekkendepaukensolo, gevolgd door koper en saxofoon. De ritmische puls blijft constant, en de aard van de muziek is vurig en krachtig. Geleidelijk komt er een pentatonische melodie naar voren en wordt de muziek minder heftig, ze wordtzachter van karakter. De aanvankelijke ostinati in het slagwerk verschijnen dan opnieuw, waarna het eerste deel van het werk eindigt in dezelfde sfeer als waarmee het begon. Het tweede deel is lieflijk en melodisch. Het opentmet een lange passage voor de saxofoons in een mineurtoonsoort. Dan klinkt hetzelfde thema in majeur en daar wordt op voortgeborduurd: de muziek ontwikkelt zich tot een majestueus orkestraal forte, dat qua sonoriteit doet denken

Es mag überraschen, dass dieses Fanfareorchesterwerk ausgerechnet von einem japanischen Ensemble in Auftrag gegeben wurde, da Fanfareorchester doch eher in Belgien, den Niederlanden oder Luxemburg oder auch in Frankreich oder Schweiz zu finden sind. Senzoku Gakuen ist eine der größten und renommiertesten Musikschulen Japans und Heimstätte einer Vielfalt an Ensembles und Orchestern. Im Jahr 2006 wurde ein Fanfareorchester gegründet. Den Anstoß gab Sotaru Fukaishi, ein Euphoniumlehrer, der den Instrumenten der Saxhorn-Familie mehr Spielmöglichkeiten bieten wollte. Fukaishi hatte sich einige Jahre zuvor bei der Weltmeisterschaft in Kerkrade (Holland) in den Klang vonFanfareorchestern verliebt. Jan Van der Roost war von Beginn an in die Entwicklung dieser Idee involviert und, einige Projekte betreffend, ebenso Manu Mellaerts. Der Dekan des Musik-Colleges, Professor Kazuo Tomioka, steht voll und ganz hinter dem Ensemble und gab Ostinati in Auftrag. Die Premiere fand am 11. Juni 2011 in der Maeda Hall in Mizonokuchi statt, dem Heimatort der Schule Senzoku Gakuen. Das Stück beginnt mit einem eindrucksvollen Paukensolo, bevor Blechbläser und Saxophon einsetzen. Der rhythmische Puls bleibt konstant unter einer feurigen, nachdrücklichen Musik. Eine pentatonische Melodie bildet sich nach und nach heraus, während die Musik an Heftigkeit verliert und sanfter wird. Die anfänglichen Ostinati im Schlagwerk kehren zurück und so endet der erste Satz des Werkes in einer der Eröffnung ähnlichen Stimmung. Der zweite Satz ist lieblich und melodiös. Er beginnt mit einem langen Abschnitt für die Saxophone in Moll. Dann erscheint das gleiche Thema in Dur und durchläuft eine Entwicklung; die Musik baut sich zu einem majestätischen orchestralen Forte auf, das in seiner Klangfülle an eine Orgel erinnert. Dann kehrt das Thema in seiner ursprünglichen Moll-Tonart und in veränderter Instrumentierung zurück, um den Satz ruhig und friedvoll in einem e-Moll-Akkord enden zu lassen.

Il pourrait paraître surprenant qu’un ensemble japonais puisse commander une pièce pour orchestre de fanfare, puisque l’on rencontre surtout ce type de formation en Belgique, aux Pays-Bas et au Luxembourg, ainsi qu’en France et en Suisse. Senzoku Gakuen, l’une des plus grandes et plus prestigieuses académies de musique du Japon, compte une grande variété d’ensembles et d’orchestres. En 2006 s’y est ajouté un orchestre de fanfare fondé par Sotaru Fukaishi, un professeur d’euphonium qui pensait qu’il était nécessaire d’offrir de plus larges possibilités aux cuivres de la région. Depuis qu’il avait assisté au World Music Contest de Kerkrade (Pays-Bas), plusieurs années auparavant,Fukaishi se prit de passion pour le son chaud et généreux de l’orchestre de fanfare, une formation atypique au Japon. Jan Van der Roost a favorablement adhéré cette nouvelle initiative, tandis que Manu Mellaerts collabora avec les deux hommes afin de concrétiser certains projets. Le professeur Kazuo Tomioka, doyen du collège de musique, soutint vigoureusement l’orchestre et commanda Ostinati. La création de l’oeuvre fut donnée le 11 juin 2011 au Maeda Hall de Mizonokuchi (Kawasaki), où se trouve Senzoku Gakuen. La pièce débute avec un impressionnant solo de timbales précédant l’entrée des cuivres et des saxophones. La pulsion rythmique est constante, la musique est énergique et de caractère affirmé. Une mélodie pentatonique émerge graduellement, alors que la trame musicale diminue d’intensité et s’adoucit. L’ostinato la percussion revient fréquemment et la première partie de l’oeuvre se termine dans un climat semblable celui du début. Le deuxième mouvement, doux et romancé, débute avec un long passage en mode mineur joué par les saxophones. Le même thème apparaît alors en mode majeur et se développe peu peu ; la musique s’intensifie pour arriver un majestueux et orchestral forte dont les sonorités rappellent celles d’un orgue d’église. Puis le thème revient sa tonalité mineure d’origine avec un changement d’instrumentation qui mène.

SKU: DZ.DZ-4316

ISBN 9782898522338.

Ada (Island) is a captivating composition that was originally written in 2011 for the Turkish lute. This piece draws its inspiration from the tranquil and picturesque atmosphere of Büyükada, one of the charming islands in the Sea of Marmara. Büyükada, with its serene landscapes, historical architecture, and tranquil shores, serves as a perfect muse for the evocative melodies and intricate harmonies that characterize Ada (Island).

Ada (Island) was later arranged for classical guitar. This adaptation allows the composition to reach a broader audience while retaining its original charm and depth. The classical guitar arrangement highlights the versatility of the piece, maintaining its delicate nuances and evocative melodies, while offering a new perspective through the guitar's distinctive tonal qualities.

Whether performed on the Turkish lute or the classical guitar, Ada (Island) remains a poignant tribute to the enchanting beauty of Büyükada, capturing the island's essence and transporting listeners to its serene shores.

«Ada (Island)» est une composition captivante écrite à l'origine en 2011 pour le luth turc. Cette pièce s'inspire de l'atmosphère tranquille et pittoresque de Büyükada, l'une des charmantes îles de la mer de Marmara. Büyükada, avec ses paysages sereins, son architecture historique et ses rivages tranquilles, constitue une muse parfaite pour les mélodies évocatrices et les harmonies complexes qui caractérisent « Ada (l'île) ».

Ada (Island) a ensuite été arrangé pour guitare classique. Cette adaptation permet à la composition de toucher un public plus large tout en conservant son charme et sa profondeur d'origine. L'arrangement de guitare classique met en valeur la polyvalence du morceau, en conservant ses nuances délicates et ses mélodies évocatrices, tout en offrant une nouvelle perspective à travers les qualités tonales distinctives de la guitare.

Qu'il soit interprété au luth turc ou à la guitare classique, Ada (Île) reste un hommage poignant à la beauté enchanteresse de Büyükada, capturant l'essence de l'île et transportant les auditeurs vers ses rivages sereins.

SKU: HL.4005025

UPC: 888680661755. 9.0x12.0x0.054 inches.

Originally released as an animated film in 1994, then adapted as a stunning musical for Broadway in 1997, The Lion King remains one of the most powerful and beloved productions to come out of the Disney studios. Scored for flexible instrumentation this medley includes: This Land, I Just Can't Wait to Be King, Hakuna Matata, Can You Feel the Love Tonight? and Circle of Life.

SKU: CF.PAS22F

ISBN 9781491151570. UPC: 680160909070. 9 x 12 inches.

Written for beginning string students, Larry Clark's Contemplation?contains basic compositional techniques that students will be able to identify and learn from. It begins with a rich, melodic opening which highlights students' musicianship. This is then contrasted by the frolicking, uptempo section, which is a variation on the original musical material.

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner. To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play. As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically. The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns. The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature. As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of your students.

It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.

Larry Clark

Lakeland, FL 2018

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner.A To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play.A As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically.A The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns.A The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature.A As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of your students.

It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.

aLarry Clark

Lakeland, FL 2018

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner.A To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play.A As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically.A The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns.A The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature.A As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of your students.

It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.

aLarry Clark

Lakeland, FL 2018

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner. To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play. As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically. The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns. The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature. As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of your students.

It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.

--Larry Clark

Lakeland, FL 2018

SKU: BT.GOB-000450-130

The assignment to write a test piece for the National Brass Band Championships ended up also being a ‘test piece’ for myself as a composer.
Although being quite familiar with the Brass Band phenomenon, as a composer I still have the feeling ofbeing an outsider.
Delta Energy turned out to be a non-program composition. The Brass Band as orchestra form is depicted musically in this piece. All the specific characteristics are portrayed in varying settings. Solo passages for Euphonium,Flugelhorn and Cornet alternating with extensive tutti-passages and of course technical highlights form the ingredients for this work written in rhapsodic form.

The title “Delta Energy” is derived from a project of the N.V. NederlandseGasunie in Groningen which also contributed in making this composition possible.

Delta Energy is een spectaculair en verfrissend concertwerk van Jan Bosveld (Nijmegen, Holland).
Het beleefde haar première als testpiece (3e divisie) ter gelegenheid van de Nederlandse Brassband Kampioenschappen (2002) te Groningen.

Decomponist heeft getracht een gevarieerd speelwerk te maken waarbij de mogelijkheden van het fenomeen brassband optimaal worden benut.
Delta Energy is abstract van opzet en heeft geen programmatische inhoud. Het werk bestaat uit 5 aaneengeslotendelen welke aan elkaar worden verbonden door cadensen van solisten of secties.

Een krachtig, ritmisch getint openingsmotief brengt ons al snel bij het hoofdthema gespeeld door de cornetsectie. Dit grillige en ritmische gedeelte wordtafgesloten door een cadens van de euphonium die ons in het tweede gedeelte brengt dat wederom zeer ritmisch van karakter is met een knipoog naar de Tarantella.
De flugelcadens zorgt ervoor dat er rust in het werk komt. Dit derde deel doet onsdenken aan een deel uit de Schilderijententoonstelling van Modest Moessorgsky, niet in de laatste plaats door de lyrische euhoniumsolo.
Een cadens van de cornetsectie verplaatst ons naar het 4e deel en daarmee naar de virtuositeit van debrassband.
De energie en de actie zetten de band en publiek op scherp in een zinderend feest. De korte trombonecadens zet de zaak nog eenmaal stil om in het 5e deel Delta Energy op spectaculaire wijze te beëindigen.
Een weergaloze compositie!

Gobelin Music Publications.

SKU: HL.49019910

ISBN 9790220134395. UPC: 888680089528. 8.25x11.75x0.25 inches.

My Concerto for Orchestra (2007) is a twenty-minute work in which different sections of the orchestra, as well as individual solos and duos from within the orchestra, are highlighted as the music unfolds. The work continues my interest in two-movement forms that began with my Cello Concerto (1991), and was later developed in Sortilege (1996) and Symphony (Broken Consort) (2004). In these works, and in the Concerto for Orchestra, each movement is given equal weight and importance with the second developing earlier material and taking it in new directions.The two-movement form of the Concerto for Orchestra derives from a symphonic sonata structure, reshaping the traditional four-movement form and combining this with aspects of sonata form, a tradition that goes back to Liszt, Schoenberg and Sibelius:1st movement (i) exposition of ideas - dramatic and sudden (ii) scherzo and development 1 - resolute2nd movement (iii) adagio - calm and unhurried (iv) development 2 with recapitulation - intense and energeticThe Concerto for Orchestra was commissioned by the Musikalische Akademie des Nationaltheatre-Orchesters Mannheim with the support of Die Landesbank Baden-Wurttemberg for its first two performances on 31st March and 1st April 2008 conducted by Friedemann Layer. The score is dedicated in friendship and admiration to Ronald Zollman.John Casken

3(3.pic).2.ca.2(2.Ebcl).bcl.3(3.cbsn)-4.3(1.Dtpt).2.btbn.1-timp.3perc(crot, vib, tub bells, sizz cym, Chinese cym, h.h, Swiss cow-bell, gong, horizontal gong, 2tam-t, tamb, bng, s.d, 5tom-t, b.d, clav, casts, marac, 5tempbl, wdbl, cabaca, vibraslap)-hp-str.

SKU: PR.11441429S

UPC: 680160594054. 9.5 x 13 inches.

Written for Concertante, a string sextet which has commissioned six different works, each highlighting one of its players. In Ran's new work, the second cellist, Zvi Plesser, was spotlighted with an outgoing, intensely lyrical opening theme, according to a New York Times review. Yet, Lyre of Orpheus never overlooks the collaborative, conversational essence of the ensemble. Read the full review here: http://www.nytimes.com/2009/03/18/arts/music/18conc.html?_r=1&adxnnl=1&partner=rssnyt&emc=rss&adxnnlx=1286200920-wRrt7MJ416+FpOYAUe/IOQ For advanced performers.
Lyre of Orpheus was composed for Concertante, the New York-based string sextet, for its One Plus Five Project, a three-year, six-composer commissioning project designed to create six string sextets, each featuring one of Concertante’s core players. This particular commission was made with the goal of giving center-stage to the ensemble’s first cello, a choice I was especially grateful for, not only because it features Zvi Plesser, the outstanding Israeli cellist, but also because it gave ma an opportunity to highlight an instrument for which, from a very early stage in my life, I have felt a special affinity.  The cell’s “soul”, so naturally combining passion and lyricism, has always touched me in a special way. As sometimes happens, naming the piece was the final act in the process of creation.  Once titled, though, I found myself looking through the piece with a mixture of delight and astonishment – the narrative of the almost iconic mythological story of love and loss seems as one entirely plausible, and to my mind convincing, way to tract the unfolding of the musical events.  Of course, the music was written with no such tale (or any tale, for that matter) in mind.  But perhaps some stories are emblematic of so much that is part of our lives and psyches, of our desires, fears and wishes.  Orpheus, whose longing for Eurydice recognizes no boundaries of heaven and hell…  Love regained, then forever lost…  Orpheus’ lyre intoning his sorrowful yearning… Lyre of Orpheus, approximately fifteen minutes in length, composed in late 2008, is intermittently songful, caressing, passionate, pained, ferocious, longing.  The instrumentation consists of 2 violins, 2 violas, 2 cellos, the first of which is the soloist/protagonist, the second notable for having its lowest string tuned down a third to achieve extra lower notes. This commission has been made possible by the Chamber Music America Commissioning Program, with funding generously provided by the Aaron Copland Fund for Music, and the Chamber Music America Endowment Fund.—Shulamit Ran.