| Prophesies [Score and Parts] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score and Parts. Composed by Mohammed Fairouz. Sws. Score and parts. With Standard notation. 68 pages. Duration 25 minutes. Theodore Presser Company #114-41903. Published by Theodore Presser Company (PR.114419030). ISBN 9781491114124. UPC: 680160669851. 9 x 12 inches. A fascination with polycultural synergy between diverse literary textsdrives the inspiration for much of Mohammed Fairouz’s prodigiouscreative output, including instrumental music as well as vocal. Inhis profound and extensive essay preceding the score, Fairouz shedslight on how Edgar Allen Poe’s “Israfel” relates to the prophetsand prophesies of the Quran, Old Testament, and New Testament.The eight-movement quartet may be heard as a dramatic galleryof portraits and of story-telling, flourishing in a post-traditionallanguage that is at once vernacular and spiritual, Middle Easternand Western. The complete set of score and parts is included in thispublication. (See pages 2-3 of score for clear distinction of paragraphs, etc.)Prophesies, by Mohammed FairouzEdgar Allen Poe’s rendition of Israfel was the point of departure for the final movement of my previous stringquartet which is titled The Named Angels. At the opening of his poem, Poe evokes the Quran:“And the angel Israfel, whose heartstrings are a lute, and who has the sweetest voice of all God’s creatures.”This informs the first lines of the poem that, in turn, gave me the title for the final movement of The Named Angels,“Israfel’s Spell”:In Heaven a spirit doth dwell“Whose heartstrings are a lute”None sing so wildly wellAs the angel Israfel,And the giddy stars (so legends tell),Ceasing their hymns, attend the spellOf his voice, all mute.It is the end of that poem, however, that is the starting point for the current quartet, Prophesies, which concernsitself with mortal prophets rather than eternal Angelic spirits.If I could dwellWhere IsrafelHath dwelt, and he where I,He might not sing so wildly wellA mortal melody,While a bolder note than this might swellFrom my lyre within the sky.Islamic thought has asked us to look at the example of the prophets. That’s significant because of the fact thatJoseph and all the prophets were human beings with the flaws of human beings. No prophet was perfect, andIslamic tradition has never asked its followers to aspire to the example of the Angels, the perfected ones. Instead weare given the gift of our prophets. While The Named Angels drew on the motion and energy of everlasting spirits,Prophesies is a depiction of the movements within our own mortal coil.This quartet is a continuation of a long tradition of Muslim artists telling their stories and singing their songs.Many of these renditions are, in fact, figurative and (contrary to popular belief) the Quran contains no “Islamicedict” prohibiting figurative renditions of the figures described in the Old Testament, New Testament, or Quran.The majority of artists, however, have preferred eternal and abstract forms such as words and their calligraphicrepresentations, poems (Yusuf and Zuleikha or the Conference of Birds come immediately to mind), architecture,and many other non-figurative art forms to the representation of man. These cold, ancient, and everlasting shapesof unending time flourished, and the divine infinity of representing geometric forms gained favor over the placementof the explicit representation of mankind and our own likeness at the center of the universes.Adding the string quartet to these forms which express the recursive spheres of heavens and earth abstractly shouldexplain why I have chosen to render higher things through the use of music without the addition of words or anyother art-form. It is the abstract art of pure form, in which all is form and all is content, which compels me. Thisquartet should be seen as no more programmatic than the arches of the Great Mosque at Cordoba.The first movement, Yāqub (Jacob), is slow, quiet and prayerful. It evokes the patient sorrow of a slow choraledeveloping over time as it coaxes our pulse out of the ticking of a clock-like meter that defines our day-to-day livesand into a divine eternity.The second, Saleh, imagines the spirit of that desert-prophet through the use of a Liwa; the dance-sequence that hasbeen such a prevalent form of expression in the Arabian Peninsula for much of our recorded history.The third movement is titled Dawoōd, and it is emblematic of the beloved Prophet, King, and Psalmist, David.Though it has no lyrics, the movement functions as a dabkeh (an ancient dance native to the Levant) and also “sets”the opening of Psalm 100 (Make a joyful noise unto the Lord, all ye lands). This line is never set to music or sung inthe quartet but is evoked through the rhythmic shape of the violin part which imitates the phonology and rhythmof my speaking the opening line in the Hebrew and develops the contours of that line incessantly throughout themovement.3The fourth movement is an ode to Yousef (Joseph) and relates to the first movement in tempo and tone just as Josephrelates to Jacob, his father. Together, the first and fourth movements provide a sort of Lamentation and relief.Joseph had the appearance of a noble angel, but he was very much a human being. And the story of this particularprophet had tragic beginnings many years before he found himself in a position of power in Egypt. Back in his youth,still among the Israelites, Joseph experienced a series of revelations through his dreams that spoke of his impendingcareer in prophecy. He confided his dreams to his father, the Prophet Jacob, who told his son of the greatness thatawaited him in his future only to have his brothers throw him into a well and leave him for dead. Joseph eventuallyfound his way from Israel to Egypt and rose out of slavery into a position of power. Meanwhile, famine engulfs Israel.Forty years pass, and back in the land of Jacob and Rachel, of Joseph’s brothers and Abraham’s tribe, Israel wasnot spared the effects of the famine. They sorely lacked Joseph’s prophecy and his vision. The Qur’an then tells usthat Jacob, sensing Joseph, sends the other brothers to Egypt instructing them to come back with food and grain.Arriving in Egypt, they unwittingly appear before Joseph. They don’t recognize their little brother who has risen toa position of might, dressed in his Egyptian regalia. They ask for the food and the grain.After some conversation, Joseph is no longer able to contain his emotion. Overcome, he reveals himself to his nowterrified brothers. He embraces them. He asks them eagerly, “How is our father?” Joseph gives them the gift of thefood and the grain that they came in search of. He relieves them from hunger and alleviates their fear. He sendsthem back with proof that he is alive, and it is this joyful proof from the miraculous hands of a prophet that bringsback the ancient Jacob’s vision after 40 years of blindness.In this story, I am struck by the fact that Joseph may not have made the decision to forgive his brothers on thespot, but that something inside the prophet’s soul found forgiveness and peace for the brothers who had so gravelywronged him at some point along his journey. I would suspect this point to have been present at Joseph’s inception,even before he had ever been wronged.This is proof, if we needed it, that Joseph’s angel-like beauty was not only physical and external, but also internalas well: Joseph possessed a profound loveliness of spirit that bound his appearance and his soul. In Joseph, formand soul are one.Time is to musicians what light is to a painter. In this way, the story of Joseph also shows us that time can affectour perception of even the most tragic wounds. In fact, the most common Arabic word for “human being” is insaan,which shares its roots with the word insaa, “to forget.” While our ability to remember is essential to how we learnabout ourselves, our capacity to “forgive and forget” may also be one of our great gifts as human beings.The fifth movement follows my ode to Joseph with a structural memory of Mūsa (Moses). The movement consistsentirely of descending motifs which I constructed as an indication of Moses’ descending movement as he emergedto his people from the heights of Mt. Sinai. The music is constructed in five phrases which function as a formalreference to the five books of Moses, the Pentateuch. The movement is placed as the fifth of the quartet for the samereason.While Joseph is always evoked as supremely beautiful in the Books of Judaism, Christianity, and Islam, Suleiman(Solomon) is described as surpassing in his quicksilver intelligence. This movement is composed of a seven-partriddle which passes by in an instant but can be caught by the attentive listener. From Solomon, we work our wayback to Yishak (Isaac) in a seventh movement that evokes Isaac’s literal meaning in Arabic and Hebrew: laughter.The eighth and final movement of this quartet is named for the Patriarch of the entire Book: Ibrahim (Abraham). Itrelates to Isaac just as Joseph relates to Jacob; they are father and son. The lines are prayerful and contemplative;the form of the music evolves from a fugue joining together many different forms of prayer into a single tapestry ofcounterpoint, to the cyclical form of this entire quartet which is rendered through the motion of pilgrims circling theKaaba (cube) in Mecca — a structure which was built by Abraham for Hagaar and their son Ismail.These are just some of the figures that are cherished by all three of the Middle Eastern monotheisms (Judaism,Christianity, and Islam) that the Qur’an refers to collectively as Ahl Al-Kitab. This Arabic phrase is most commonlytranslated as “The People of the Book,” but here the most common translation is a flawed one: the Arabic word“ahl” means “family” and not just “people.” A better translation would be “Family of the Book.” Each of the eightmovements of Prophesies grows from a single musical cell.This quartet is a family album.—Mohammed Fairouz (2018. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Widmann Hunting Quart;str.quar String Quartet: 2 violins, viola, cello [Score and Parts] Schott
String quartet (P/ST) - difficult SKU: HL.49033270 3rd string quartet<...(+)
String quartet (P/ST) - difficult SKU: HL.49033270 3rd string quartet. Composed by Joerg Widmann. This edition: Saddle stitching. Sheet music. Edition Schott. Score and parts. Composed 2003. 112 pages. Duration 12'. Schott Music #ED9749. Published by Schott Music (HL.49033270). ISBN 9790001136860. 9.25x12.0x0.3 inches. The Jagdquartett (Hunt Quartet), which Jorg Widmann wrote as his third string quartet in 2003, following the Choralquartett, also begins with a visible gesture. After a short signal cry from the performers, the piece starts by quoting Robert Schumann's Papillons op. 2, and for its full duration retains this gesture, these starting sounds. The degrees of recognizability do change continuously, to be sure, in the furious, racing organism of the score. The contours change into forms on another level, yet now and then the begining material returns clearly to the fore, initiated anew by a cry from the performers, and is then digested or mutated as a rhythmic study into a field of harmonic experimentation. On rare occasions, there are moments of pause - as though the musicians were testing the atmosphere, as though they were sensing the weather, so as ultimately to continue playing the quartet across the fields an forests of notes. A hunt after joyful performance, a chase, the whip cracking, after the thing to be shot, the sound, its performer, perhaps the composer himself? - A last shout, morendo, dal niente... - The victim is not the audience, at any rate.When comparing the output of string quartets from the 18th century to thetime of Schumann, it appears to have dropped considerably. Schumann composed only three complete quartets, all of them in the so-called 'chamber music year' 1842. Jorg Widmann, who counts Robert Schumann among his greatest inspirations, finished a series of five string quartets in 2005, at the same age as Schumann. The quartets in the cycle form in themselves the characters of the movements of the classical quartet. Jagdquartett represents the fast middle movement, the scherzo. Widmann's work appears rough and wild in the style of Schumann's alter ego Florestan. His hunt begins in the tempo of 'allegro vivace assai' with the final theme of Schumann's Papillons which often appears or is cited in many of Schumann's compositions. Widmann eventually dismantles the thematic material of his fierce quartet, thus skeletonising his prey. $79.00 - See more - Buy online | | |
| There Is a Name I Love to Hear Shawnee Press
SAB/opt. C Instrument C Instrument; Choral; Violin (SAB/C INSTRUMENT) SKU: HL...(+)
SAB/opt. C Instrument C Instrument; Choral; Violin (SAB/C INSTRUMENT) SKU: HL.1191698 (Oh, How I Love Jesus). Composed by Dan Boone. Shawnee Sacred. General Worship. Octavo. Duration 220 seconds. Published by Shawnee Press (HL.1191698). UPC: 196288132097. 6.75x10.5x0.029 inches. John 1:14, John 3:16, Matthew 1:18-23. This treasured hymn lyric is beloved by many, and this resetting gives it new expressive potential. Lyrical and lovely, the theme has elegant contours and the harmonies are effective and accessible. A majestic final chorus soars before the anthem surrenders to devotion and serenity. $2.20 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Johan De Meij : Big Apple, The (A New York Symphony)(Symphony No. 2) Concert band - Intermediate/advanced Amstel Music
The Big Apple (A New York Symphony)(Symphony No. 2) (Part II Gotham - Parts Only...(+)
The Big Apple (A New York Symphony)(Symphony No. 2) (Part II Gotham - Parts Only). By Johan De Meij. For Concert Band. Amstel Music. Grade 5-6. Amstel Music #AM17. Published by Amstel Music
$231.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Big Apple, The (A New York Symphony)(Symphony No. 2) Concert band - Intermediate/advanced Amstel Music
The Big Apple (A New York Symphony)(Symphony No. 2) (Complete Edition - Parts On...(+)
The Big Apple (A New York Symphony)(Symphony No. 2) (Complete Edition - Parts Only). By Johan De Meij. For Concert Band. Amstel Music. Grade 5-6. Amstel Music #AM19. Published by Amstel Music
$462.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Double Concerto Theodore Presser Co.
Chamber Music Clarinet, Piano, alto Saxophone SKU: PR.114419720 Baroqu...(+)
Chamber Music Clarinet, Piano, alto Saxophone SKU: PR.114419720 Baroque. Composed by Carter Pann. Set of Score and Parts. 36+12+12 pages. Duration 16 minutes. Theodore Presser Company #114-41972. Published by Theodore Presser Company (PR.114419720). ISBN 9781491134863. UPC: 680160685790. In a musical style strongly influenced by (and occasionally parodying) American popular music, the subtitle “Baroque†may seem a puzzle at first. It is also the key to Pann’s approach in composing for multiple wind soloists and ensemble. With Bach’s Brandenburgs in the rear-view mirror, Pann has created a glorious hybrid of inspirations with intricate counterpoint, cadenzas, beautiful slow textures, and wild rides, creating a 16-minute, fast-slow-fast concerto grosso. The published piano reduction is fully practical for live performance. My Double Concerto (subtitled “Baroqueâ€) from 2018 posed an immediate challenge which gave me some real trepidation as a composer. The two solo instruments, Clarinet and Alto Saxophone, are quite varied in their timbral characteristics yet they have nearly identical ranges. I gave many hours of thought to solving this challenge and eventually settled on an obvious mission: make each instrument as independent from the other as possible. Explore opposite areas of each range simultaneously. Set very different contours against one another in the solo parts. These kinds of things.I. Bach in the Fifties sets the soloists up as competing crooners. I wanted to write a 1950s-style teen idol tune, complete with electric organ, and writing the music I imagined J.S. Bach might tend towards if he was writing for The Platters or Perry Como. This first movement also presents within it a traditional concerto-style cadenza for both soloists together.II. Desert Arias should transport the listener to an arid, barren land over which a mirage of canons emerge.III. Pronouncements is set in the style of a baroque concerto’s final movement. Nuance is forfeited on behalf of straight-ahead melodic dueling. Stravinsky lingers like a ghost behind this finale. $34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Asbjorn Schaathun: Musical Grafitti Nr. 2 [Score] Music Sales
Chamber Ensemble SKU: HL.14022412 Composed by Asbjorn Schaathun. Music Sa...(+)
Chamber Ensemble SKU: HL.14022412 Composed by Asbjorn Schaathun. Music Sales America. Classical. Score. 72 pages. Music Sales #KP00754. Published by Music Sales (HL.14022412). ISBN 9788759858646. English-Danish. MUSICAL GRAFITTI(II)In Musical Grafitti(II), virtuoso drawings for amplified piano, large ensemble and tape with cosmic sounds, von den herrn Asberion Ska-tune (1983-84), Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image, and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture, which are presented in the initializing Formula. At the same time Formula serves as a model for the progression of the entire piece on various levels.The computer-program SCHAATON, written especially for this work by Swedish composer Bo Rydberg, governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece, the computer establishes the chordal focal points of the work, thus rather paradoxically making itself redundant.The brief tape interpolations and the long ending consist of cosmic noise recorded by a satelite. This noise symbolizes the outermost edge of the musical continuum Schaathun is seeking to describe: from white noise to music characterized by an advanced syntax. To compose is to control a defined continuum of sound. In this piece the control is represended by the Formula.The piece may also be read as a big prelude to Luciano Berios points on the curve to find... At one point Schaathun's curve crosses Berios curve, and the contours become directly involved in Berio's instrumentation before passing through and the soloist disappears into the coloured noise into which the piece fades away.(+ Fransk versjon NMI). $70.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Fincastle Overture Marching band [Score and Parts] - Easy Gobelin Music Publications
Fanfare Band - Grade 2.5 SKU: BT.GOB-001034-020 Composed by Jan Bosveld. ...(+)
Fanfare Band - Grade 2.5 SKU: BT.GOB-001034-020 Composed by Jan Bosveld. Set (Score & Parts). 72 pages. Gobelin Music Publications #GOB 001034-020. Published by Gobelin Music Publications (BT.GOB-001034-020). Fort Fincastle was built in 1793 by royal governor 'Lord Dunmore at an unusual location: Nassau, the capital of the Bahamas. The name of the fort: Fort Fincastle' comes from Dunmore's second title of Viscount Fincastle '( Earl of Fincastle). He gave the fort a particular shape, a circular building with a sharp expansion in the form of a bow or bow of ship. In order to deceive enemy ships. The sounds of the first bars show the contours of a looming majestic stronghold, after a heroic theme follows. Soon we hear the threat of hostile elements. Work on the fort means much waiting and lonely, but you should always alert and vigilant for the ever lurking attack. After the turn of yet another attack there is a feeling of satisfaction and pride, we see the fort are on the hill towering above Nassau.
In 1793 werd Fort Fincastle gebouwd door ‘royal governor’ Lord Dunmore op een bijzondere plek: Nassau, de hoofdstad van de Bahamas. De naam van het fort: ‘Fort Fincastle’ is afkomstig van Dunmore’s tweede titel ‘Viscount Fincastle’(Graafvan Fincastle). Hij gaf het fort een bijzonder vorm, een cirkelvormig gebouw met een puntige uitbouw, in de vorm van een boeg of voorsteven van schip. Dit om vijandige schepen te misleiden. De klanken van de eerstematen laten de contouren van een majestueus verdedigingsbolwerk opdoemen, waarna een heldhaftig thema volgt. Al snel horen we de dreiging van vijandige elementen . Werken op het fort betekent veel wachten en is best eenzaam,toch moet je altijd alert en waakzaam zijn voor de immer op de loer liggende aanval. Na het afslaan van de zoveelste aanval heerst er een gevoel van tevredenheid en zien we het fort trots liggen op de heuvel die bovenNassau uit torent. $191.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Fincastle Overture Brass ensemble [Score and Parts] - Easy Gobelin Music Publications
Brass Band - Grade 2.5 SKU: BT.GOB-001035-030 Composed by Jan Bosveld. Se...(+)
Brass Band - Grade 2.5 SKU: BT.GOB-001035-030 Composed by Jan Bosveld. Set (Score & Parts). 27 pages. Gobelin Music Publications #GOB 001035-030. Published by Gobelin Music Publications (BT.GOB-001035-030). Fort Fincastle was built in 1793 by royal governor 'Lord Dunmore at an unusual location: Nassau, the capital of the Bahamas. The name of the fort: Fort Fincastle' comes from Dunmore's second title of Viscount Fincastle '( Earl of Fincastle). He gave the fort a particular shape, a circular building with a sharp expansion in the form of a bow or bow of ship. In order to deceive enemy ships. The sounds of the first bars show the contours of a looming majestic stronghold, after a heroic theme follows. Soon we hear the threat of hostile elements. Work on the fort means much waiting and lonely, but you should always alert and vigilant for the ever lurking attack. After the turn of yet another attack there is a feeling of satisfaction and pride, we see the fort are on the hill towering above Nassau.
In 1793 werd Fort Fincastle gebouwd door ‘royal governor’ Lord Dunmore op een bijzondere plek: Nassau, de hoofdstad van de Bahamas. De naam van het fort: ‘Fort Fincastle’ is afkomstig van Dunmore’s tweede titel ‘Viscount Fincastle’(Graafvan Fincastle). Hij gaf het fort een bijzonder vorm, een cirkelvormig gebouw met een puntige uitbouw, in de vorm van een boeg of voorsteven van schip. Dit om vijandige schepen te misleiden. De klanken van de eerstematen laten de contouren van een majestueus verdedigingsbolwerk opdoemen, waarna een heldhaftig thema volgt. Al snel horen we de dreiging van vijandige elementen . Werken op het fort betekent veel wachten en is best eenzaam,toch moet je altijd alert en waakzaam zijn voor de immer op de loer liggende aanval. Na het afslaan van de zoveelste aanval heerst er een gevoel van tevredenheid en zien we het fort trots liggen op de heuvel die bovenNassau uit torent. $143.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Fincastle Overture Marching band [Score] - Easy Gobelin Music Publications
Fanfare Band - Grade 2.5 SKU: BT.GOB-001034-120 Composed by Jan Bosveld. ...(+)
Fanfare Band - Grade 2.5 SKU: BT.GOB-001034-120 Composed by Jan Bosveld. Score Only. 16 pages. Gobelin Music Publications #GOB 001034-120. Published by Gobelin Music Publications (BT.GOB-001034-120). Fort Fincastle was built in 1793 by royal governor 'Lord Dunmore at an unusual location: Nassau, the capital of the Bahamas. The name of the fort: Fort Fincastle' comes from Dunmore's second title of Viscount Fincastle '( Earl of Fincastle). He gave the fort a particular shape, a circular building with a sharp expansion in the form of a bow or bow of ship. In order to deceive enemy ships. The sounds of the first bars show the contours of a looming majestic stronghold, after a heroic theme follows. Soon we hear the threat of hostile elements. Work on the fort means much waiting and lonely, but you should always alert and vigilant for the ever lurking attack. After the turn of yet another attack there is a feeling of satisfaction and pride, we see the fort are on the hill towering above Nassau.
In 1793 werd Fort Fincastle gebouwd door ‘royal governor’ Lord Dunmore op een bijzondere plek: Nassau, de hoofdstad van de Bahamas. De naam van het fort: ‘Fort Fincastle’ is afkomstig van Dunmore’s tweede titel ‘Viscount Fincastle’(Graafvan Fincastle). Hij gaf het fort een bijzonder vorm, een cirkelvormig gebouw met een puntige uitbouw, in de vorm van een boeg of voorsteven van schip. Dit om vijandige schepen te misleiden. De klanken van de eerstematen laten de contouren van een majestueus verdedigingsbolwerk opdoemen, waarna een heldhaftig thema volgt. Al snel horen we de dreiging van vijandige elementen . Werken op het fort betekent veel wachten en is best eenzaam,toch moet je altijd alert en waakzaam zijn voor de immer op de loer liggende aanval. Na het afslaan van de zoveelste aanval heerst er een gevoel van tevredenheid en zien we het fort trots liggen op de heuvel die bovenNassau uit torent. $34.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Fincastle Overture Brass ensemble [Score] - Easy Gobelin Music Publications
Brass Band - Grade 2.5 SKU: BT.GOB-001035-130 Composed by Jan Bosveld. Sc...(+)
Brass Band - Grade 2.5 SKU: BT.GOB-001035-130 Composed by Jan Bosveld. Score Only. 32 pages. Gobelin Music Publications #GOB 001035-130. Published by Gobelin Music Publications (BT.GOB-001035-130). Fort Fincastle was built in 1793 by royal governor 'Lord Dunmore at an unusual location: Nassau, the capital of the Bahamas. The name of the fort: Fort Fincastle' comes from Dunmore's second title of Viscount Fincastle '( Earl of Fincastle). He gave the fort a particular shape, a circular building with a sharp expansion in the form of a bow or bow of ship. In order to deceive enemy ships. The sounds of the first bars show the contours of a looming majestic stronghold, after a heroic theme follows. Soon we hear the threat of hostile elements. Work on the fort means much waiting and lonely, but you should always alert and vigilant for the ever lurking attack. After the turn of yet another attack there is a feeling of satisfaction and pride, we see the fort are on the hill towering above Nassau.
In 1793 werd Fort Fincastle gebouwd door ‘royal governor’ Lord Dunmore op een bijzondere plek: Nassau, de hoofdstad van de Bahamas. De naam van het fort: ‘Fort Fincastle’ is afkomstig van Dunmore’s tweede titel ‘Viscount Fincastle’(Graafvan Fincastle). Hij gaf het fort een bijzonder vorm, een cirkelvormig gebouw met een puntige uitbouw, in de vorm van een boeg of voorsteven van schip. Dit om vijandige schepen te misleiden. De klanken van de eerstematen laten de contouren van een majestueus verdedigingsbolwerk opdoemen, waarna een heldhaftig thema volgt. Al snel horen we de dreiging van vijandige elementen . Werken op het fort betekent veel wachten en is best eenzaam,toch moet je altijd alert en waakzaam zijn voor de immer op de loer liggende aanval. Na het afslaan van de zoveelste aanval heerst er een gevoel van tevredenheid en zien we het fort trots liggen op de heuvel die bovenNassau uit torent. $34.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| It Came Upon a Midnight Clear Choral CD Daybreak Music
Choral (ChoirTrax CD) SKU: HL.334900 Composed by Heather Sorenson. Daybre...(+)
Choral (ChoirTrax CD) SKU: HL.334900 Composed by Heather Sorenson. Daybreak Christmas Choral. Christmas, General Worship, Sacred. CD. Duration 220 seconds. Published by Daybreak Music (HL.334900). UPC: 840126910582. 5.0x5.0x0.15 inches. Edmund H. Sears/Heather Sorenson. John 14:27, Luke 2:9-14. From the cantata Little Lion, Little Lamb, the contours of this reimagined carol are fashioned with beautiful arching leaps, instantly endearing it to the listener. A good balance of unison and four-part writing expresses the miracle of the incarnation with sensitivity and sincere devotion. The B section offers some theater with distinctive layers of Gloria that crescendo with impressive impact. The final angelic proclamation fades into the Christmas sky with delicate and artful sonority. Heavenly! Score and Parts (fl 1-2, ob, cl 1-2, bn, tpt 1-3, hn 1-2, tbn 1-2, tbn3/tba, perc 1-2, timp, hp, vn 1-2, va, vc, db) available as a digital download. $29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Abendstern - Easy Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 3 SKU: CF....(+)
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 3 SKU: CF.CAS117 Composed by Lauren Bernofsky. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 8+8+2+5+5+5+8 pages. Duration 3 minutes, 59 seconds. Carl Fischer Music #CAS117. Published by Carl Fischer Music (CF.CAS117). ISBN 9781491153291. UPC: 680160910793. 9 x 12 inches. Key: A major. Abendstern, composed by Lauren Bernofsky,?evokes an image of a sunset over the tree-covered hills of the Bavarian countryside with the Abendstern, or evening star, shining brightly over the scene. A hauntingly beautiful theme in falling thirds?evokes the treetops as they become darker and murkier. This piece is a wonderful addition to any concert program and can be used as a touching?tribute at a memorial service. One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light.. One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light.. One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light. 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
$60.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Abendstern [Score] - Easy Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 3 SKU: CF....(+)
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 3 SKU: CF.CAS117F Composed by Lauren Bernofsky. Concert String Orchestra (CAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #CAS117F. Published by Carl Fischer Music (CF.CAS117F). ISBN 9781491153307. UPC: 680160910809. 9 x 12 inches. Abendstern, composed by Lauren Bernofsky,?evokes an image of a sunset over the tree-covered hills of the Bavarian countryside with the Abendstern, or evening star, shining brightly over the scene. A hauntingly beautiful theme in falling thirds?evokes the treetops as they become darker and murkier. This piece is a wonderful addition to any concert program and can be used as a touching?tribute at a memorial service. One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light.. One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light.. One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light. 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
$9.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| In the Fire of Conflict (Solo Percussion) [Score and Parts] Promethean Editions
Chamber Music solo percussion SKU: PO.PE108 Composed by Christos Hatzis. ...(+)
Chamber Music solo percussion SKU: PO.PE108 Composed by Christos Hatzis. Sws. Score and parts. Promethean Editions #PE108. Published by Promethean Editions (PO.PE108). ISBN 9781877218996. In the Fire of Conflict is named after the theme for the 2008 Toronto Summer Music Festival for which it was composed. Set in two continuous movements, the live percussion part is performed with the rap music in the digital audio part, sourced from American rapper Steve Henry a.k.a. Bugsy H., of the Christian rap group Poetik Disciples. The live percussion weaves constantly around the rap lyrics, often drawing melodic contours from the prosodic contours of the spoken text. $47.50 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Arne Nordheim: Aftonland (Score) [Score] Wilhelm Hansen
Soprano Voice and Chamber Ensemble SKU: HL.14023221 Composed by Arne Nord...(+)
Soprano Voice and Chamber Ensemble SKU: HL.14023221 Composed by Arne Nordheim. Music Sales America. Classical. Score. Composed 2002. Edition Wilhelm Hansen #WH30002. Published by Edition Wilhelm Hansen (HL.14023221). ISBN 9788759867822. International (more than one language). Version for Soprano and Chamber Ensemble. Aftonland (1957) for soprano and chamber orchestra, the work to give Nordheim his breakthrough in the Northern countries, is written on the basis of four poems by the Swedish Nobel prize-winner, the writer Par Lagerkvist. The original version is for soprano accompanied by five strings, harp, celesta and percussion. The second version (1965) is for soprano and chamber orchestra with 22 strings. The work is dedicated to the memory of the composer's father, Erling Nordheim. Transition, transformation and existential wonder, as evoked by these lines in the second movement, resonate, sympathetically, seemed to be etched into the very musical fabric as well. Nordheim's free-tonal language with its dissonant intervals is employed effectively to punctuate Aftonland's powerful expressivity. Beyond the contours and importance of the lines, however, the instrumentation too probes broad expressive registers and is highly foregrounded in its own right. $41.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Three Tchaikovsky Themes String Orchestra [Score and Parts] - Beginner Belwin
Featuring: Symphony No. 4 / The Nutcracker Suite / 1812 Overture. Composed by ...(+)
Featuring: Symphony No. 4 /
The Nutcracker Suite / 1812
Overture. Composed by Pyotr
Ilyich Tchaikovsky [Peter
Ilyich Tchaikovsky].
Arranged by Douglas E.
Wagner. Masterworks;
Part(s); Score; String
Orchestra. Belwin Beginning
String Orchestra. Masterwork
Arrangement; Romantic. 72
pages. Published by Belwin
Music
$46.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Basque Carol Carl Fischer
Choral Cello, Contrabass voice, Piano, Viola, Violin 1, Violin 2, Violin 3, SATB...(+)
Choral Cello, Contrabass voice, Piano, Viola, Violin 1, Violin 2, Violin 3, SATB chorus SKU: CF.CM9734 Composed by Basque Carol. Arranged by Christopher Thomas. 12 pages. Duration 2 minutes, 37 seconds. Carl Fischer Music #CM9734. Published by Carl Fischer Music (CF.CM9734). ISBN 9781491161142. UPC: 680160919734. Key: A minor. English. Basque Carol. A Basque Carol (also known as Gabriel's Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer's Canterbury Tales: Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .. Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song's lasting popularity. I would also attribute A Basque Carol's continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as his wings as drifted snow, his eyes as flame. I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I've added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino. I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you're a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!. A Basque Carol (also known as Gabriel’s Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer’s Canterbury Tales: “Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .â€.Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song’s lasting popularity. I would also attribute A Basque Carol’s continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as “his wings as drifted snow, his eyes as flame.â€I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I’ve added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino.I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you’re a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program! $2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Fountains Mingle with the River Choral 3-part SSA, Piano Heritage Music Press
SSA choir, piano SKU: LO.15-3581H Composed by Jean Berger. Arranged by Do...(+)
SSA choir, piano SKU: LO.15-3581H Composed by Jean Berger. Arranged by Douglas E. Wagner. Choral. Octavo. Heritage Music Press #15/3581H. Published by Heritage Music Press (LO.15-3581H). ISBN 9780787761967. See the mountains kiss high heaven and the waves clasp one another ... and the sunlight clasps the earth, and the moonbeams kiss the sea ... From Berger’s Five Shelley Poems, this arrangement uses tempo changes and dynamic nuances to honor the contour of the text. Included are two short optional a cappella sections which make this a solid piece of concert repertoire for upper-voice ensembles. $3.20 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Garden Call Choral SATB SATB, Strings Harold Flammer Music
Composed by Brad Nix. Harold Flammer. Holy Week, Sacred. Octavo. 12 pages. Pub...(+)
Composed by Brad Nix. Harold
Flammer. Holy Week, Sacred.
Octavo. 12 pages. Published
by Harold Flammer Music
$2.10 $1.995 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Articulate Jazz Musician Jazz Ensemble [Sheet music + CD] - Intermediate Alfred Publishing
(Mastering the Language of Jazz (E-Flat Instruments)). By Caleb Chapman and Jeff...(+)
(Mastering the Language of Jazz (E-Flat Instruments)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For E-Flat. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 44 pages. Published by Alfred Music Publishing
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Articulate Jazz Musician Jazz Ensemble [Sheet music + CD] - Intermediate Alfred Publishing
(Mastering the Language of Jazz (Bass Clef Instruments)). By Caleb Chapman and J...(+)
(Mastering the Language of Jazz (Bass Clef Instruments)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For Bass Clef. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 44 pages. Published by Alfred Music Publishing
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Articulate Jazz Musician Jazz Ensemble [Book + CD] - Intermediate Alfred Publishing
(Mastering the Language of Jazz (Teacher Edition)). By Caleb Chapman and Jeff Co...(+)
(Mastering the Language of Jazz (Teacher Edition)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For Teacher Edition. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 52 pages. Published by Alfred Music Publishing
$16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Articulate Jazz Musician Jazz Ensemble [Sheet music + CD] - Intermediate Alfred Publishing
(Mastering the Language of Jazz (Bass)). By Caleb Chapman and Jeff Coffin. Jazz ...(+)
(Mastering the Language of Jazz (Bass)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For Bass. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 64 pages. Published by Alfred Music Publishing
$16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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