SKU: CF.CPS219

ISBN 9781491152454. UPC: 680160909957.

Solar Flare, by Tyler Arcari, depicts the huge explosion on the Sun that appears as a sudden bright flash. The piece incorporates a whirlwind of mixed meters to?depict this phenomenon. Arcari showcases his fresh, exciting, and well-scored compositional style in this piece. Solar Flare makes for? an excellent concert opener.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 6972 should be treated as a transitional fanfare to the new material at m. 73. Measures 99115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.
A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work.About the Work:Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a “teaching 7/8” space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69–72 should be treated as a transitional fanfare to the new material at m. 73.Measures 99–115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the “^” accent on the final note is one meant to be played heavy, and not short.

SKU: CN.R10004

A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.

Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

SKU: CF.YPS265F

ISBN 9781491164051. UPC: 680160922840.

The Rocky Road to Dublin is a song written by Irish poet D. K. Gavan in the mid-nineteenth century for English music-hall performer Harry Clifton and tells the story of an Irish man leaving his hometown of Tuam in the county of Galway in Ireland to go to Dublin to make money. Because of the Great Potato Famine at that time, large groups of Irish folks left their hometowns looking for food and work. Thousands ended up in America, in particular, Philadelphia, where many made their way south through the Appalachian mountains, settling in southwest Virginia, western North Carolina and eastern Tennessee. As the Irish began their new lives here in America, they would often sing these songs, which would bring back fond memories of their homeland. Many old-time fiddle tunes can be traced to Irish music, including this song. However, their music changed as the songs were passed around through other cultures in the mountains, with new verses about their new lives. Often the tunes and lyrics made their way back overseas where they would change yet again, so there are many versions of these songs found in both Ireland and America. This setting is close to the original and can be found in both places. It gets to the heart of having to leave one’s home to seek a better life.This tune is a fun one and should be played with a lilt until m. 43. At this point, the original material is more legato, but returns at m. 59 in the alto saxophone. Let the percussion play on their solis, especially at the end where some of them answer the band motifs. The straight eighth notes (as at m. 29) will perhaps look difficult to younger players, but once they understand the concept, it will be a favorite part. Have fun!

SKU: CN.R10307

Sea Dreams was written in memory of the composer's wife, Jean. After an introduction, which is not heard again until the end of the piece, the music becomes a rondo allegro, and gradually builds to a big climax. At the very end there is an oblique reference to the Liebestod of Wagner's Tristan and Isolde.

Sea Dreams was originally a commission, in 2007, from an American University who wanted me to write a piece in memory of my first wife, Jean, who died in 2006. I set about writing the music and quickly completed the score early in 2008, but, unfortunately, because of the sudden collapse in the worldwide financial markets the commission itself fell through. The music draws on three of the pieces that I had written for Jean in the early days before we were married, namely two violin sonatas (she was a violinist) and the 'Serenade' Opus 22 one of my most popular pieces. However the bulk of the music is new, and the quotes from these early pieces are subtle and merely passing references, not at all like the originals. After an introduction, which is not heard again until the end of the piece, the music becomes a rondo allegro, and gradually builds to a big climax. At the very end there is an oblique reference to the Liebestod of Wagner's Tristan and Isolde. Sea Dreams was premiered by Birmingham Symphonic Winds, conducted by Keith Allen, on Saturday March 20th 2010 at the CBSO Centre, Birmingham, England.

SKU: CA.5006014

ISBN 9790007079277. Key: B flat minor. Language: Latin/German.

After the premiere of 12 Dec 1870, the poet Paul Heyse wrote to Rheinberger: I do not want to wait until we see each other again, most honoured friend, to say to you how much your work grabbed hold of me, lifted me up, and washed me away on a current of strength and beauty, swelling higher and higher..

SKU: CA.5006011

ISBN 9790007079246. Key: B flat minor. Language: Latin/German.

After the premiere of 12 Dec 1870, the poet Paul Heyse wrote to Rheinberger: I do not want to wait until we see each other again, most honoured friend, to say to you how much your work grabbed hold of me, lifted me up, and washed me away on a current of strength and beauty, swelling higher and higher..

SKU: BA.BA11310-90

ISBN 9790006569267. 27 x 19 cm inches. Text Language: Latin.

This publication offers a source-critical edition of Mozartâ??s fragmentary â??Requiemâ? as well as an alternative to the traditional SüÃ?mayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozartâ??s idiom taking into account historical additions by SüÃ?mayr and Eybler.

When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozartâ??s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the â??Requiemâ? fragment, is taken into account in those sections requiring completion or fresh composition.

At two points readers may choose between alternative movements (or sections), since proceeding from SüÃ?mayrâ??s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozartâ??s intentions: the â??Lacrimosaâ? may end with or without â??Amenâ? fugue, and the â??Sanctusâ? may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major â??Hosannaâ? from SüÃ?mayrâ??s autograph, a movement which, until now, has not been appreciated as compositionally flawless.

â?¢ Scholarly-critical edition of the â??Requiemâ? fragment
â?¢ With performance material for presentation of
1) the fragment,
2) a version with completions of the authentic Mozart sections or
3) a full completion consistent with Mozartâ??s musical idiom
â?¢ Missing sections were completed by drawing from other fragmentary sacred works by Mozart
â?¢ Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment
â?¢ Alternative performance options for the â??Lacrimosaâ?, â??Sanctusâ? and â??Benedictusâ?
â?¢ Easy-to-play piano reduction
â?¢ Extensive foreword (Ger/Eng) on the workâ??s history, reception and modern completions, with analytical stylistic critique
� Detailed Critical Commentary (Eng), partly available on the Bärenreiter website
â?¢ Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (â??Le Disque classique du jourâ? from francemusique.fr and three nominations for Opus Klassik 2021 in the categories â??Ensembleâ?, â??Choral Recordingâ? and â??Editorial Achievementâ?)

You will find a detailed brochure on the new completion of Mozart's Requiem here.

SKU: BR.EB-2066

ISBN 9790004160770. 7.5 x 10.5 inches.

Text by the composer Translation: engl. (M. E. Browne) Place: Bagdad Characters: Der Kalif (baritone) - Baba Mustapha, ein Kadi (tenor) - Margiana, seine Tochter (soprano) - Bostana, eine Verwandte (alto) - Nureddin (tenor) - Abul Hassan Ali Ebn Bekar, Barbier (bass) - 1. Muezzin (bass) - 2. Muezzin (tenor) - 3. Muezzin (tenor) - Ein Sklave (tenor) - Vier Bewaffnete (2 Tenore, 2 Basse) Corneliuss opera got off to a bad start, to say the least: the scandal provoked at the first performance in Weimar in 1858 led to protests and ultimately to the resignation of Franz Liszt as court opera director. It was not until 1904 that the opera was played again in that city and proved that the scandal had not been caused by the work but by Liszts aesthetic views. The score was long considered as the ideal example of a musical comedy with a far too complicated plot. Today, however, many prominent commentators beg to differ: This is one of the sunniest scores ever written. Music in the spirit of Mozart and Mendelssohn: a highly delicate mixture of classical formal rigor and romantic irony, heightened with just a touch of exquisite sensuality that has just wafted in from the Orient. It is practically incomprehensible how Cornelius could have been regarded as a composer of the Wagner school for practically a century. With its intricate fusing of comedy, lyricism and sentimentality, it is precisely the opera that Schubert, Schumann, E.T.A. Hoffmann and Mendelssohn were unable to write. (Hans Zender).

SKU: CF.SPS78F

ISBN 9781491153239. UPC: 680160910731.

Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.
About the CompositionFestival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .

SKU: CA.7005312

ISBN 9790007228293. Key: D major. Language: Latin.

With a duration of about 10 minutes, Schubert's Magnificat D 486 in C major is one of the more concise settings of the well-known Marian canticles, originally for the service of Vespers. It was composed in late summer 1815, and is therefore probably one of a series of church music works Schubert wrote in his youth for Lichtenthal Parish Church. The work requires a large-scale orchestra with strings, woodwind, and brass. The four-part choir contrasts with four soloists; this quartet sings the peaceful middle section of the three-section work. For the Carus edition Schubert's own autograph manuscript of his Magnificat was consulted again for the first time since 1888. Until 1989 this had been thought to be lost. This work is now available in carus music, the choir app! Score and part available separately - see item CA.7005300.

SKU: PR.41641613L

UPC: 680160642199. 11 x 17 inches.

On the island of Elba, off the coast of Italy, I composed this work as the sun was rising over the ocean in the mornings and gently sifting through the clouds against the lingering fog. As the piece developed, it took on a shape of its own and gradually became centered around diminished chords and the interval of a tri-tone (diminished 5th). I love these chords for their angst and for their sadness, but also for their flexibility. My piece is very textural in nature; and yes, it does have a melody of sorts, and yet, this melody comes and goes, and is never quite grasped until the end. Portions of it are repeated and spun out creating layers of sound without the heaviness of form. It is indeed a depiction of mist, where one minute you see things and the next they are gone. As you move through the piece, you find that the trumpet is also an antagonist, creeping in with a haunting cry; a reminder of things unsettled. Throughout the piece, we are quietly searching. We search for a tonal center for stability, and also for a melody that will make us feel fulfilled. Once found, we hold them for an instant, and then like the clouds and like life itself, they are gone. We are warmed by their presence and saddened by their loss. I hope that you will reflect upon your own memories of life's quiet moments as we enjoy the world premiere of this new work together. Mist is not a piece to be analyzed, but rather a piece to be experienced and absorbed. As you listen, release your mind, embrace your emotions, close your eyes, and allow the mist to creep in.

SKU: HL.49045166

ISBN 9790220135002. UPC: 888680724214. 8.25x11.75x0.276 inches.

Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the 'journey' of the piece. The work's straightforward formal scheme consists of three movements (roughly fast-slow-fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centers on a twofold search. First there is the ongoing pursuit to recapture the simple melodic material stated by the solo violin - accompanied by thar harp's bass register - during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue. The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabas Kelemen and the Halle.