Quartet 4 Trombones or 3 Baritones & Bass Trombone/Tuba - Grade 4

SKU: KN.17691

Composed by Various. Arranged by Mike Forbes. Ensemble. Trombone Quartet. Kendor Music Inc #17691. Published by Kendor Music Inc (KN.17691).

UPC: 822795176919.

This collection of 16 well-known works from the classical repertoire for trombone quartet are presented here for grade 3-5 groups. This collection was specifically arranged to allow for flexible low brass instrumentation. The 4th part may be played on bass trombone or tuba, and the upper three trombone parts can easily be exchanged for baritones (b.c.) to the extent that these could be played solely by a baritone-tuba quartet.

Contents:
Swing Low, Sweet Chariot; Londonderry Air; Drink To Me Only With Thine Eyes; Rule, Britannia (Arne); Greensleeves; All Through The Night; New World Symphony (Dvorak); Minuet (Bach); Arioso (Bach); Deep River; Lo, How A Rose E'er Blooming; Air On The G String (Bach); Eine Kleine Nachtmusik (Mozart); Sheep May Safely Graze (Bach); Hornpipe (Handel); and Tango (Albeniz).

Quartet 4 Trombones or 3 Baritones & Bass Trombone/Tuba - Grade 4

SKU: KN.17692

Composed by Various. Arranged by Mike Forbes. Ensemble. Trombone Quartet. Kendor Music Inc #17692. Published by Kendor Music Inc (KN.17692).

UPC: 822795176926.

This collection of 16 well-known works from the classical repertoire for trombone quartet are persented here for grade 3-5 groups. This collection was specifically arranged to allow for flexible low brass instrumentation. The 4th part may be played on bass trombone or tuba, and the upper three trombone parts can easily be exchanged for baritones (b.c.) to the extent that these could be played solely by a baritone-tuba quartet.

Contents:
Swing Low, Sweet Chariot; Londonderry Air; Drink To Me Only With Thine Eyes; Rule, Britannia (Arne); Greensleeves; All Through The Night; New World Symphony (Dvorak); Minuet (Bach); Arioso (Bach); Deep River; Lo, How A Rose E'er Blooming; Air On The G String (Bach); Eine Kleine Nachtmusik (Mozart); Sheep May Safely Graze (Bach); Hornpipe (Handel); and Tango (Albeniz).

Quartet 4 Trombones or 3 Baritones & Bass Trombone/Tuba - Grade 4

SKU: KN.17695

Composed by Various. Arranged by Mike Forbes. Ensemble. Trombone Quartet. Kendor Music Inc #17695. Published by Kendor Music Inc (KN.17695).

UPC: 822795176957.

This collection of 16 well-known works from the classical repertoire for trombone quartet are persented here for grade 3-5 groups. This collection was specifically arranged to allow for flexible low brass instrumentation. The 4th part may be played on bass trombone or tuba, and the upper three trombone parts can easily be exchanged for baritones (b.c.) to the extent that these could be played solely by a baritone-tuba quartet.

Contents:
Swing Low, Sweet Chariot; Londonderry Air; Drink To Me Only With Thine Eyes; Rule, Britannia (Arne); Greensleeves; All Through The Night; New World Symphony (Dvorak); Minuet (Bach); Arioso (Bach); Deep River; Lo, How A Rose E'er Blooming; Air On The G String (Bach); Eine Kleine Nachtmusik (Mozart); Sheep May Safely Graze (Bach); Hornpipe (Handel); and Tango (Albeniz).

String Quartet - Grade 3

SKU: AP.36-52703617

Composed by Alan Shulman. This edition: Latham Music. Quartet; Solo Small Ensembles; String - Quartet. LudwigMasters - Latham Music. Book. LudwigMasters Publications #36-52703617. Published by LudwigMasters Publications (AP.36-52703617).

UPC: 735816385521. English.

This humorous little vignette for string quartet was composed in 1979 and was originally intended to be published by Piedmont Music, the ASCAP division of EB Marks Classical. For reasons unknown, however, it remained in manuscript form until 2021, when a copy of the composer's autograph parts was discovered in the archives of a completely different Alan Shulman piece. This newly engraved Latham Music edition therefore represents the first publication of Shulman's delightful work, as well as the first full score. As the title suggests, this is a medium-slow rag, or cakewalk in a loose AABA form. The bluesy and graceful main melody is introduced by the first violin in a call and response exchange with the rest of the ensemble. The restatement of the primary theme is led by the second violin, with the entire ensemble playing pizzicato, having the effect of playful mockery. In the B section, the first violin earnestly reasserts the stately grace from the opening however, the cello is clearly becoming restless and decides to take over the lead just before the final reprise. The lighthearted ending again has the first violin doing its best to bring the tune to a refined conclusion, but the rest of the group still has mischief in mind. After a couple moments of seeming confusion, the ensemble regroups at last and plays the final riff with resolute emphasis. If you're looking to add a light moment to a recital program, or looking for a short, medium level contest piece that players and audiences alike will enjoy, this little miniature is an ideal choice!

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.

By Ola Gjeilo. SCORE/PARTS FOR STRINGS. Walton Choral. Walton Music #WW1463A. Published by Walton Music

Books and Journals

SKU: UT.QC-4

Edited by Roberto Illiano and Rohan H. Stewart-MacDonald. Paperback (Soft Cover). Quaderni Clementiani. Essays by Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanova, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDo. Classical. Books and Journals. 568 pages. Ut Orpheus #QC 4. Published by Ut Orpheus (UT.QC-4).

ISBN 9788881094783. 6.5 x 9.5 inches.

Saggi di Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanová, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDonald, Marie Sumner Lott


The career of Jan Ladislav Dussek (1760-1812) was notable for its peripateticism. Starting out in his native Bohemia Dussek spent periods of time in Germany and the Netherlands, settling in London for about ten years in the 1790s, progressing to Hamburg and ending his days in Paris. Although his activities centred on the piano, like so many musicians of his day Dussek branched out from performing and composing to encompass teaching, publishing and instrument retail, with varying success. A plethora of reviews and biographical accounts attest to Dussek’s renown throughout Europe as a pianist and composer, particularly when it came to sensitive and cantabile playing; and he interacted with some of the most eminent musicians, artists and political figures of his time. Dussek’s reputation declined sharply in the nineteenth century, however, and with the exception of isolated revivals of his work, for instance in London in the mid-nineteenth century, he has remained on the verge of obscurity in the minds of many musicians and music-lovers until the present day: even his well-known innovation of placing the piano sideways-on to the audience to display his striking profile is often mistakenly attributed to Franz Liszt. Although Dussek has provided the subject of a number of student dissertations over the years, in the published literature he has largely been restricted to cameo appearances or brief entries in historical surveys.
The bicentennial anniversary of Dussek’s death provides a fitting occasion for bringing together scholars from all parts of the world to produce the first multi-author, multi-lingual study of the composer. Several chapters deal with aspects of Dussek’s biography and iconography that receive only sparse treatment elsewhere; others survey the different branches of his output, including the piano sonatas, the piano concertos, the chamber music with and without harp and the three String Quartets, Op. 60, which are currently enjoying a revival via recordings and a new edition.
This book has two fundamental aims. One is to stimulate renewed interest in, and debate about, a less than celebrated – one might say unjustly neglected – figure. The other aim is to approach Dussek’s multi-facetted, geographically diverse career as an interface between ourselves and the music business at the beginning of the nineteenth century, whose complexity and vicissitudes emanated from the sociological dynamics and political events with which Dussek was, to an almost unique degree, inextricably associated. The highs and lows of Dussek’s career, the surviving contemporary accounts of Dussek the performer and composer, and the letters he exchanged with colleagues in several nations vividly portray the struggles of a worldly, ambitious, versatile and extremely perspicacious musician striving to carve out a place of eminence and material security for himself. This meant negotiating the complex progression, underway at this point in history, from the patronage system to the emergence of the artist as a socially and financially autonomous entity.

Voice and Clarinet

SKU: AY.CM3202PM

Composed by Joaquim Homs. Ensembles - Chamber Music. Score & Parts. Duration 3'30. Periferia Publishing #CM3202PM. Published by Periferia Publishing (AY.CM3202PM).

ISBN 9790543574366.

LES HORES Two songs for voice and clarinet about S. Espriu's poems)The 5th of January 1938, in the middle of the civil war, the excellent poet from Majorca Bartomeu Rossello- Porcel passed away in the Sanatorium of Brull (Osona) at the age of 24. His close friend Salvador Espriu was with him in his lasts days of life and expressed his awful experience in fifteen short poems under the title of Les hores, that were published in 1952.
In 1955 I put music in two of them, Espera and Nova claror where only two melodic lines get crossed and composed, in a way that is similar to the exchange of sensations and feelings that express the poems. The music tends to suggest and to deepen in our spirit the emotive climate and the deep sadness that come from all the poems.
The next year I composed five more songs of the same series for voice, flute, oboe and clarinet, and eventually in 1970, another six for voice and string quartet. The premiere of the last two series of songs took place in 1956 and 1974 respectively. The premier of the first series of 1955 took place the 21st of November 1988 by the Group L.I.M at the Contemporary Arts room of the Museum of Fine Arts of Bilbao within the framework of the Ninth Music Festival of the XXth Century. Joaquim Homs.