SKU: AP.36-A213048

ISBN 9798892705271. UPC: 659359875526. English.

Richard Strauss (1864-1949) wrote his VIOLIN CONCERTO IN D MINOR, Op. 8, between 1881 and 1882, and it remained his only foray in that genre. Composed while a teenager and still in school. While still very much a product of the Romantic era tradition, the work is not considered as distinctive as the works he would produce only a few years later, and Strauss himself later ridiculed the work. Still, with inventive and bold writing in the solo and hints of his mature harmonic style to come, there is much to enjoy in the work, including its warmth, youthful sincerity, and lyrical expression, so that it should not be dismissed as mere juvenilia, either by contemporary audiences or Strauss himself. The chamber version of the concerto was first performed in Vienna on December 5, 1882, with the dedicatee Benno Walter on the violin while Strauss played his own piano reduction. The premiere for the orchestral version would take place seven years later in Cologne on March 4, 1890, with Walter again performing the solo with an orchestra conducted by Franz Wüllner. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: AP.36-A213002

UPC: 659359873225. English.

Richard Strauss (1864-1949) wrote his VIOLIN CONCERTO IN D MINOR, Op. 8, between 1881 and 1882, and it remained his only foray in that genre. Composed while a teenager and still in school. While still very much a product of the Romantic era tradition, the work is not considered as distinctive as the works he would produce only a few years later, and Strauss himself later ridiculed the work. Still, with inventive and bold writing in the solo and hints of his mature harmonic style to come, there is much to enjoy in the work, including its warmth, youthful sincerity, and lyrical expression, so that it should not be dismissed as mere juvenilia, either by contemporary audiences or Strauss himself. The chamber version of the concerto was first performed in Vienna on December 5, 1882, with the dedicatee Benno Walter on the violin while Strauss played his own piano reduction. The premiere for the orchestral version would take place seven years later in Cologne on March 4, 1890, with Walter again performing the solo with an orchestra conducted by Franz Wüllner. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: GI.G-CD-1004

The creation of the WindWorks label represents an expanded relationship between the North Texas Wind Symphony and GIA Publications. GIA’s generous support and ongoing dedication to wind music has made it possible for the ensemble to continue producing recordings of the highest quality that are a testament to the perseverance and work ethic of everyone involved. While the first 34 releases in the series, initiated in 1989, remain with the Klavier label, this broadened alliance with GIA affords the opportunity to consolidate all of the current projects under one publishing roof. The diverse set of offerings consists of WindWorks (which includes the CD and DVD series), the Composer’s Collection, and the Teaching Music through Performance in Band resource recordings. Partnering in this way creates exciting possibilities that allow the imaginative output to stay focused on the ongoing mission: to provide first-class recordings that accentuate the comprehensiveness, depth, and value of the wind symphony medium and its music. Contents: 1. For the President’s Own (John Williams) 2–4. Three Short Stories (Gernot Wolfgang) 2. Uncle Bebop 3. Rays of Light 4. Latin Dance 5. In the World of Spirits (Bruce Broughton) 6. The Ringmaster’s March (John Mackey) 7. Winter Dreams (Michael Daugherty) 8–10. Wine-Dark Sea (John Mackey) 8. Hubris 9. Immortal Thread, So Weak 10. The Attentions of Souls.

SKU: HL.1247352

UPC: 847986002365. 12.0x15.0x5.0 inches.

PURE TUBE is perfectly optimized for vocal recordings. PURE TUBE was holistically designed to allow you to deliver your best vocal performance and spark your creativity. Its gold-sputtered 1-inch true condenser capsule is powered by a revolutionary circuit to add warmth, depth, and intimacy to your voice, technically unmatched by other microphone classics. To ensure that clarity is retained, a transformer-based filter balances the proximity effect, and musically rounds out the sonic image perfectly for vocal recordings. Absolutely every design detail shows that the PURE TUBE was designed for professional vocal recording. Unique signal path for highest signal integrity and ultra-low noise performance. PURE TUBE uses an entirely new circuit to create its timeless sound quality. The unique signal path is completely free from semiconductors and capacitors, so you hear all the character of the hand-selected tube with an ultra-low noise floor. PURE TUBE's ultra-low noise level of 7 dB (A) will never negatively affect your signal, even with heavy post-processing used for contemporary music production. This combination of innovative circuitry, high-quality components, and hand-selected ECC82/12AU7 tubes makes the PURE TUBE a high-performance microphone that is difficult to compare to conventional studio microphones, whether FET or tube. Finally, 100 years after the first tube microphone was invented, there is a tube microphone without technical tradeoffs compared to FET or other tube microphones. With its outstanding sound quality and specifications, PURE TUBE will serve all those looking for a premium upgrade in their sound. 10-year warranty Buying a $1,000 microphone is a giant leap for many looking to elevate their craft, and LEWITT offers a 10-year warranty (and industry-leading customer service) to ensure peace of mind. Features: • Studio microphone with timeless, premium sound • Optimized for professional vocal recordings • Cardioid polar pattern • Signal path free from capacitors and semiconductors • Hand-selected 12AU7/ECC82 tube • Ultra-low noise performance of 7 dB (A) • Transformer-based filter to musically balance the proximity effect • Compact, energy-saving PSU works worldwide • Including microphone mount, 7-pin XLR cable, transport bag • Optional accessories: shock mount, pop filter • 10-year LEWITT warranty.

SKU: SU.91480570

Text: Angier Brock.

SATB Chorus, Organ Duration: 7' Text: Angier Brock Composed: 2010 Published by: Subito Music Publishing YouTube: Ms. Brock’s moving poem is lyrical throughout. Even in its beautiful originality, the poem invokes The Book of Common Prayer and biblical scripture (the latter through references to dust and breath from Genesis 2 to the final line of the poem invoking the opening of Psalm 62). Ms. Brock’s poetry is also filled with wonderful twists on traditional texts (such as in the creative and reverse naming of the Trinity in speaking of Inventing Wind, Generous Christ, and Luminous God). Musically, the main melodic material of the piece is immediately heard on a solo organ color accompanied by organ strings over a recurring pedal pulse on the pitch C. The chorus soon enters with the first stanza of the text. As this stanza unfolds, the harmony starts to gradually change as the pulsing pedal rhythm begins to move upward by step. An organ interlude, reflective of the opening introduction, soon emerges (though now over a C-sharp recurring pedal pulse), and leads to a similar choral setting as found in stanza one. As the poem’s second stanza moves forward, it eventually folds into the more harmonically rich stanza three. A fast, dance-like section evolves at Inventing Wind, what a lively dance your energy creates! eventually bringing the work to its climax point. The spirit of dance soon subsides and leads to a quiet and gentle close on the words …for you alone my soul in silence waits.


Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.

SKU: M7.ELLI-4140

ISBN 9781559613163. UPC: 052296414023.

A melting pot of rhythms, melodies and sonic textures that promises to be as upöifting to the general listener as it is challenging to the musicians who endeavor to dissect its complex rhythms. A work of poetic beauty. Four frame drums, trombone and violin. Inspired by ancient frame drumming traditions, Glen Velez and Handance create a pan-global rhythmic style drawing on the music of South India, the Middle East, and Central Asia. Rhythmcolor Exotica explores the terrains created by rhythmic cycles of 4,5,7 and even 41 beats. This inventive urban drum clan dazzles with its virtuosity, and with the playful melodic inventions of Art Baron on trombone. Add in tinwhistle, didgeridoo, shaker and conch and you have a one-of-a kind trancy, jazzy, border-crossing celebration. The frame drums played on Rhythmcolor Exotica include Moroccan bendir, North African mazhar and tar, Egyptian riq, and Celtic bodhrán with Arthur Baron, Jan Hagiwara, Eva Atsalis, Yousif Sheronick.

SKU: BT.MUSM570366293

English.

The Cruel Mother for Voice, Flute, Clarinet, Violin and Cello. Composed 2014, published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6), recorded by Dark Inventions. Duration: 6-7 minutes. The murderous tale of infanticide that is told in The Cruel Mother ballad is widely known in a number of forms. It has been performed and recorded by folk singers such as Martin Carthy, Maddy Prior, and Bella Hardy amongst many others, and inspired Down by the Greenwood Side by Harrison Birtwistle. The particular melody used in this arrangement was collected by H.E.D. Hammond in Dorset in 1907. The matter-of-fact representation of the terrible tale thatcharacterizes the tune is augmented by the quintuple metre and cheerful instrumental refrain. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House, Manchester.

SKU: BR.EB-8913

Royal Funeral Music

ISBN 9790004185797. 7.5 x 10.5 inches.

For the funeral rites after the death of King Augustus I. of Saxony (Augustus the Strong), Zelenka composed the Requiem in D (ZWV 46) and the Officium Defunctorum (ZWV 47), both integral parts of the exequies for the Saxon-Polish ruler. Zelenka had to finish this work in a great hurry, and implemented - suitable to the occasion - an impressing abundance of sound colors and inventiveness: muted trumpets and horns, chalumeau, obligate fagotti as well as extremely virtuoso solo parts and fully developed counterpoints in the choral settings. With the present Urtext edition David Erler is closing one of the last gaps in the series of large-scale sacred works of Zelenka in Breitkopf & Hartel's catalog. Have a look into the piano vocal score.

Royal Funeral Music.