Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3

SKU: CF.CAS113

Composed by Bruce W. Tippette. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 16+4+16+10+10+10+3+12 pages. Duration 3 minutes, 50 seconds. Carl Fischer Music #CAS113. Published by Carl Fischer Music (CF.CAS113).

ISBN 9781491151327. UPC: 680160908820. 9 x 12 inches. Key: E minor.

Composed by Bruce W. Tippette, Drifting?utilizes musical passages to allude to the image of something drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters.
The musical passages in this piece for string orchestra conjure images of something, perhaps a leaf, gently drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters. As Drifting opens, soft pizzicato strings are uttered in the lower string voices, while the upper voices slowly swell into the appearance of the main motive in m. 9. This theme develops and passes through several voices until being replaced by a new motive in m. 36, accompanied by driving rhythms and frequent modulations. A powerful resurgence of the original motive occurs in m. 60. Melodic remnants of the previous sections are presented in a new fashion as the piece comes to a dramatic close with all voices playing in rhythmic unison in the closing measures..
The musical passages in this piece for string orchestra conjure images of something, perhaps a leaf, gently drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters. As Drifting opens, soft pizzicato strings are uttered in the lower string voices, while the upper voices slowly swell into the appearance of the main motive in m. 9. This theme develops and passes through several voices until being replaced by a new motive in m. 36, accompanied by driving rhythms and frequent modulations. A powerful resurgence of the original motive occurs in m. 60. Melodic remnants of the previous sections are presented in a new fashion as the piece comes to a dramatic close with all voices playing in rhythmic unison in the closing measures..
The musical passages in this piece for string orchestra conjure images of something, perhaps a leaf, gently drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters. As Drifting opens, soft pizzicato strings are uttered in the lower string voices, while the upper voices slowly swell into the appearance of the main motive in m. 9. This theme develops and passes through several voices until being replaced by a new motive in m. 36, accompanied by driving rhythms and frequent modulations. A powerful resurgence of the original motive occurs in m. 60. Melodic remnants of the previous sections are presented in a new fashion as the piece comes to a dramatic close with all voices playing in rhythmic unison in the closing measures.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

(The Songs of Ernesto Lecuona) Performed by Placido Domingo, composed by Ernesto Lecuona (1895-1963). For voice, piano and guitar chords. Format: piano/vocal songbook. With vocal melody, piano accompaniment, lyrics (Spanish and English), introductory text and black and white photos. Latin and spanish. 64 pages. 9x12 inches. Published by Marks.

Concert Band Concert Band - Grade 1

SKU: FJ.B1642S

Score Only. Composed by Robert Sheldon. Concert Band. FJH MOS Performance. Form: Chorale. Score. Duration 2:00. The FJH Music Company Inc #98-B1642S. Published by The FJH Music Company Inc (FJ.B1642S).

English.

This tranquil offering brings to mind the feeling of floating on a calm sea, contemplating the starry skies above. Playable by young bands, this will bring a moment of lyricism to your next concert. (Correlates with Measures of Success Book 1, Opus 5).

SATB Choir

SKU: BT.MUSM570368679

For choir and fixed media. Composed by Evis Sammoutis. Score Only. Composed 2019. 14 pages. University of York Music Press #MUSM570368679. Published by University of York Music Press (BT.MUSM570368679).

Isthmus denotes a narrow strip of land with sea on either side, forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus, my birthplace, and in the USA, my recently adopted homeland. Having lived in a small, partitioned island for my formative years and in England for eleven years, water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border, a violent and absolute interruption of a continuum. While in the USA, or indeed in a now connected Europe, it is possible to travel on land for days without having to encounter a border, in the countries where I lived for most of my life, that was not possible. As an artist, this notion of establishing boundaries and consciously trying to break them is very close to me, as my music deals both with modernity but also with tradition and, similarly, with metaphor and reality. As a Cypriot, the sea, the world of antiquity, the mysteries of the oracles, the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus, different layers of history are frequently superimposed on a single building that might still preserve its Roman, Byzantine, Venetian and Ottoman features in its layers of stone and architecture. Similarly, ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus, therefore, can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus, in this short piece, I connect these experiences with the purpose of creating a distinct and unique sonic context, connecting technology and tradition, the pastoral with the urban, the musical with the extra-musical and the abstract with the concrete. For example, the choir does not always sing in the traditional sense, but the singers imitate various natural sounds, such as water, air, crickets or birds, to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York, communicated within clearly defined, singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic, articulating an imaginary language, but also literal, with a setting of the poem, “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery, creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich, without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers is sought with 4 additional soloists (2 Sopranos and 2 Altos). Each singer must have their own wireless speaker, secured either in the music folder or as a strap inside their shirts. All sounds must match in volume the sound from the speakers, creating one unified timbre. The speakers should not be noticeable to the public. The four soloists are placed offstage at the beginning of the work. From 1:35’ onwards they enter the hall and take their positions, ideally at the four corners of the hall. If the hall is too large, the singers can find alternate positions, but these should always be antiphonal. The four soloists sing predominantly in the “kulning” style and the antiphonal aspect is very important to the work. There are two sound files for each section (SATB) that are triggered by each singer’s mobile device. The first occurs at the start of the piece, and the second, about a minute before the end. The sound files are able to be purchased separately, on CD, or are available directly from UYMP.

Quintet (fl,vl,2va,vc)

SKU: BR.PB-5590-07

Urtext - First Edition. Composed by Adolf Busch. Chamber music; stapled. Partitur-Bibliothek (Score Library). Late-romantic; Early modern. Study Score. Duration 30'. Breitkopf and Haertel #PB 5590-07. Published by Breitkopf and Haertel (BR.PB-5590-07).

ISBN 9790004214008. 0 x 0 inches.

The Flute Quintet op. 68 is one of the last works of Adolf Busch The final version was written in March 1952, just a few months before the composer's death; however, Busch evidently had been working on it for the previous two years. During this time, Busch founded the Marlboro Music Festival together with his son-in-law, the pianist Rudolf Serkin, his brother Hermann and other partners. The summer festival has long since established itself and can look back on a more than fifty-year-long performance tradition of the quintet, since it has been - and still is - regularly played by the members of the family (brother, daughter and granddaughter). Highly esteemed by many a Busch aficionado as a late work in a positive and placid tone, it is now printed for the first time by Breitkopf & Hartel.Adolf Busch wrote 70 works with opus numbers and about as many without, which were intended for home use. Rediscovered and increasingly performed, Busch's music is now conquering the place it deserves in concert programs. The present edition is part of Breitkopf's series of chamber music by Adolf Busch.

First printing - Urtext - Autograph as main source.

Choir

SKU: BT.MUSM570369027

For choir and fixed media. Composed by Evis Sammoutis. CD Only. Composed 2019. University of York Music Press #MUSM570369027. Published by University of York Music Press (BT.MUSM570369027).

Isthmus denotes a narrow strip of land with sea on either side, forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus, my birthplace, and in the USA, my recently adopted homeland. Having lived in a small, partitioned island for my formative years and in England for eleven years, water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border, a violent and absolute interruption of a continuum. While in the USA, or indeed in a now connected Europe, it is possible to travel on land for days without having to encounter a border, in the countries where I lived for most of my life, that was not possible. As an artist, this notion of establishing boundaries and consciously trying to break them is very close to me, as my music deals both with modernity but also with tradition and, similarly, with metaphor and reality. As a Cypriot, the sea, the world of antiquity, the mysteries of the oracles, the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus, different layers of history are frequently superimposed on a single building that might still preserve its Roman, Byzantine, Venetian and Ottoman features in its layers of stone and architecture. Similarly, ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus, therefore, can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus, in this short piece, I connect these experiences with the purpose of creating a distinct and unique sonic context, connecting technology and tradition, the pastoral with the urban, the musical with the extra-musical and the abstract with the concrete. For example, the choir does not always sing in the traditional sense, but the singers imitate various natural sounds, such as water, air, crickets or birds, to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York, communicated within clearly defined, singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic, articulating an imaginary language, but also literal, with a setting of the poem, “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery, creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich, without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers is sought with 4 additional soloists (2 Sopranos and 2 Altos). Each singer must have their own wireless speaker, secured either in the music folder or as a strap inside their shirts. All sounds must match in volume the sound from the speakers, creating one unified timbre. The speakers should not be noticeable to the public. The four soloists are placed offstage at the beginning of the work. From 1:35’ onwards they enter the hall and take their positions, ideally at the four corners of the hall. If the hall is too large, the singers can find alternate positions, but these should always be antiphonal. The four soloists sing predominantly in the “kulning” style and the antiphonal aspect is very important to the work. There are two sound files for each section (SATB) that are triggered by each singer’s mobile device. The first occurs at the start of the piece, and the second, about a minute before the end. The sound files are able to be purchased separately, on CD, or are available directly from UYMP.

Choral (SSA Choir) - easy

SKU: HL.14025878

(The Little Prince). Composed by Nicholas Wright and Rachel Portman. Arranged by Richard Allain. Music Sales America. Classical, Female Voices. Book [Softcover]. Composed 2005. 20 pages. Chester Music #CH69531. Published by Chester Music (HL.14025878).

ISBN 9781846090486. UPC: 884088441012. 6.75x9.75x0.069 inches. Lyrics by Nicholas Wright.

An arrangement of one of the songs from The Little Prince, a fabulous, moving and melodic opera by Rachel Portman with luxurious counter melodies and placid harmonies. This opera is based on French philosopher and aviator Antoine de Saint-Exupery's novella, Le Petit Prince, an international classic penned in 1943. It was composed by Rachel Portman, the first woman to win an Oscar for a film score (Emma-1996), with text by Nicholas Wright. While Saint-Exupery's moving parable of self-discovery is the foundation of the opera's appeal, it is Portman's music that gives the work its dramatic impact. The characters are brought to life and portrayed with a delicate combination of humour and poignancy. This SSA and Piano arrangement of The Lamplighters by Richard Allain.

Choral (SSA Choir) - easy

SKU: HL.14025879

(The Little Prince). Composed by Rachel Portman. Arranged by Richard Allain. Music Sales America. Classical, Female Voices. Choral Score. Composed 2005. 12 pages. Chester Music #CH69542. Published by Chester Music (HL.14025879).

ISBN 9781846090493. UPC: 884088447526. 6.75x9.75x0.052 inches. Lyrics by Nicholas Wright.

An arrangement of one of the songs from The Little Prince, a fabulous, moving and melodic opera by Rachel Portman with luxurious counter melodies and placid harmonies. This opera is based on French philosopher and aviator Antoine de Saint-Exupery's novella, Le Petit Prince, an international classic penned in 1943. It was composed by Rachel Portman, the first woman to win an Oscar for a film score (Emma-1996), with text by Nicholas Wright. While Saint-Exupery's moving parable of self-discovery is the foundation of the opera's appeal, it is Portman's music that gives the work its dramatic impact. The characters are brought to life and portrayed with a delicate combination of humour and poignancy. This SSA and Piano arrangement of Look At The Stars by Richard Allain.

Choral (SATB)

SKU: HL.1437163

Composed by Franz Xaver Gruber. Arranged by Richard A. Nichols. Hinshaw Music. Octavo. 8 pages. Hinshaw Music #HMC2702. Published by Hinshaw Music (HL.1437163).

UPC: 196288204466. 6.75x10.5x0.019 inches.

A placid accompaniment figure reminiscent of falling snow opens this setting, providing a serene sound world for the beloved SILENT NIGHT, HOLY NIGHT. As the upper voices disappear with the first verse, the lower voices enter above a slightly more stirring accompaniment pattern. The third verse opens the heavens to reveal the radiant beams in rapturous glory before returning us to the tranquil opening night scene. The optional string orchestra adds depth and texture to the backdrop, offering a meaningful expression to any concert.

Piano

SKU: LM.29479

Composed by Matthieu Stefanelli. Classical. Score. Editions Henry Lemoine #29479. Published by Editions Henry Lemoine (LM.29479).

ISBN 9790230994798.

I. Lever de soleil onirique (Etude pour les secondes et l'ostinato) a Guillaume Vincent - II. Le silence des eaux placides (Etude pour les mains separees) a Aline Piboule - III. Pygmalion (Etude pour les agregats et les arpeges) a Lucas Debargue - IV. Joueur de Gamelan (Etude pour les articulations opposees et les alternes) a Louis Lancien - V. Poussieres d'etoile (Etude de rythme et pour les deplacements) a Sebastian Ene - VI. Boite a musique (Etude pour la main gauche et l'ostinato) a Julien Brocal - VII. Magma (Etude de virtuosite) a Philippe Hattat.

By Gustav Holst. Arranged by Ric Jones. For brass quintet. Level 4. Published by Imagine Music