String Orchestra and Piano SKU: BT.EMBZ13549 Die Triosonate im Barock<...(+)
String Orchestra and
Piano
SKU:
BT.EMBZ13549
Die
Triosonate im Barock.
By Arpad Pejtsik.
Educational Tool. Book
Only. Composed 1993. 206
pages. Editio Musica
Budapest #EMBZ13549.
Published by Editio
Musica Budapest
(BT.EMBZ13549).
At first sight,
this publication appears
to merely be a collection
of pieces due to the lack
of drier technical
studies that are
characteristic of tutors.
Yet the selection of the
works, their order
according to the
development of ensemble
playing, and the advice
towards technical
realization included
after the foreword -
these all make this
publication a tutor. The
works form a
cross-section of a longer
period of the history of
chamber music and offer
an insight into the
different methods of
composition.Volume II
introduces the Baroque
trio sonata through the
works of the greatest
masters (Vivaldi,
Corelli, Albinoni, F.
Couperin, Purcell and
Bach). The two violin
parts do not gobeyond the
3rd position nor the
cello parts beyond the
4th position.
(16 Rockin' Hits of the 1990s). Arranged by Dan Coates. For Piano. Piano Collect...(+)
(16 Rockin' Hits of the
1990s). Arranged by Dan
Coates. For Piano. Piano
Collection. Simply
Series. Pop/Rock. Easy
Piano. Book. 80 pages.
Published by Alfred Music
Publishing
Edited by Andy Beck, Brian Lewis, Karen Farnum Surmani. Instructional book and a...(+)
Edited by Andy Beck,
Brian Lewis, Karen Farnum
Surmani. Instructional
book and accompaniment CD
for voice. Series:
Choral/Vocal (Choral
Texts, Methods and
Videos). Published by
Alfred Publishing.
Oratorium. Composed by Franz Joseph Haydn (1732-1809). Edited by Wolfgang...(+)
Oratorium.
Composed by Franz Joseph
Haydn (1732-1809). Edited
by Wolfgang Gersthofer.
This edition: urtext.
Stuttgart Urtext Edition:
Joseph Haydn. German
title: Die Schopfung.
Oratorios, Praise and
thanks. Choral score.
Composed 1798. XXI:2. 32
pages. Duration 105
minutes. Published by
Carus Verlag
(CA.5199005).
The Book of Urizen is Jacob de Haan his first Symphony for concert band, ...(+)
The Book of Urizen
is Jacob de Haan his
first Symphony for
concert band, solo
soprano, and a male
narrator in which sound
collages of expressions
are used. The piece is
inspired by the
compelling visionary poem
of the samename (which
the poet illustrated
himself) by the
Englishman William Blake
(1757-1827). The
Vision, first
movement and The
Creation, second
movement of The Book
of Urizen are
available by following
editionnumber: DHP
1043551. The Web,
the third movement of
The Book of Urizen
is available by the
following edition number:
DHP 1125252. Download the
audio samples here: track
1, track 2, track
3
In The Book
of Urizen - Jacob de
Haan zijn eerste symfonie
voor harmonieorkest,
zangstem (sopraan) en een
mannelijke spreekstem -
wordt gebruik gemaakt van
geluidscollages. De
compositie is ge
nspireerd op het
gelijknamigegedicht van
William Blake
(1757-1827). The
Vision, het eerste
deel en The
Creation, het tweede
deel van The Book of
Urizen zijn
beschikbaar via volgend
editienummer: DHP
1043551. The Web,
het derdedeel van The
Book of Urizen is
verkrijgbaar via
editienummer: DHP
1125252. Download
audiofragmenten hier:
track 1, track 2, track
3
The Book of
Urizen ist Jacob de
Haan seine erste
Symphonie für
Blasorchester, Gesang
(Sopran) und
(männliche)
Sprechstimme, in welcher
Botschaften durch
Geräuschcollagen
wiedergegeben werden. Als
Inspirationsquelle
dienteder gleichnamige
Gedichtzyklus des
großen englischen
Dichters und Malers
William Blake
(1757-1827). The
Vision, erster Satz
und The Creation,
zweiter Satz von The
Book of Urizen sind
unter der
folgendenEditionsnummer
erhältlich: DHP
1043551. The Web,
der dritte Satz von
The Book of Urizen , ist
unter der folgenden
Editionsnummer
erhältlich: DHP
1125252. Laden Sie hier
die Audiosamples
herunter: track 1, track
2,track 3
The Book of
Urizen is a work for
concert band, solo
soprano, and a male
narrator in which sound
collages of religious
expressions are used. The
piece is inspired by the
compelling visionary poem
of the same name (which
the poet
illustratedhimself) by
the Englishman William
Blake (1757-1827), who
occupies a unique
position in western
literature and the visual
arts. He was not just a
poet and a writer, but he
was also a graphic
artist, a painter, an
illustrator, a
spiritualist, areligious
visionary, and a mystic
philosopher. For the
performance of this work,
a professional sound
system, including two
microphones and a CD
player, is needed. The
three sound collages are
three separate tracks on
the enclosed CD and can
beplayed easily at the
right moment. The Book
of Urizen bears
resemblance to Genesis
and Exodus, of which the
contents form the basis
of the Christian, Jewish,
and Islamic faith. Blake
adhered to the principle
that all religions are in
fact one,and that deities
reside in human beings.
In The Book of
Urizen this is
represented in “The
Net of Religion,â€
which is spanned over the
earth by Urizen. The
sound collages, compiled
by Jacob de Haan in the
studio, find their origin
inJerusalem, the Holy
City, where the
afore-mentioned faiths
“come
together.†In the
first movement of
this composition, The
Vision, Urizen
prepares his vision of
the world, and he
presents this to the
“Eternals.â€
His vision is
rejected,and Urizen locks
himself up in his own
abstract world. When he
does emerge again, he is
confronted with rage by
the gathered Eternals.
Urizen flees the wrath of
the Eternals, “the
flames of eternal
fury,†and enwombs
himself in his own world.
Whenthe Eternals see
Urizen in his
“stony
sleep,†they wonder
if this is death. The
blacksmith Los is torn by
grief because of the
isolation of Urizen. It
brings him to rouse his
fires, prepare his forge,
and to give
Urizen’s world
concrete form. In
thesecond
movement, The
Creation,
Urizen’s world,
but also man, woman, and
child are created. Los is
horrified with the
appearance of
Urizen’s body. He
mourns and pities Urizen,
and from his blood a
female form comes into
being, with thename
Enitharmon. The Eternals,
fearful of the female
form, decide to erect a
tent to obstruct their
view to eternity.
Enitharmon and Los beget
a son, called Orc. Los
baptizes him as a child
of the “fallen
world.†Orc is fed
at Enitharmon’s
breast,which makes a
girdle of jealousy
restrict Los’
chest. He takes the child
to the top of the
mountain and chains him
down. The cries of Orc
awaken Urizen, who
explores his world
creating instruments of
scientific measurement to
do so. Los encircles
theface of Enitharmon
from the sight of Urizen
and Orc. She then
populates the earth by
giving birth to an
enormous race.The
Web, third movement
of The Book of
Urizen is now
available: DHP 1125252
At First Sight - Book 1: 80 Progressive Pieces for Cello Sight-Reading, Pre-Grad...(+)
At First Sight - Book 1:
80 Progressive Pieces for
Cello Sight-Reading,
Pre-Grade 1-3 by Peter
Lawson. For cello. String
music. Published by
Stainer and Bell Ltd.
At First Sight - Book 2: 60 Progressive Pieces for Cello Sight-Reading, Grade 4 ...(+)
At First Sight - Book 2:
60 Progressive Pieces for
Cello Sight-Reading,
Grade 4 plus by Peter
Lawson. For cello. String
music. Published by
Stainer and Bell Ltd.
By Groeber, Hoge, Sanchez, Welch. For Guitar. This innovative book features the ...(+)
By Groeber, Hoge,
Sanchez, Welch. For
Guitar. This innovative
book features the new
activity First Sighting,
which introduces students
to sightreading. Theory.
Level: Late Elementary.
Book. Published by The
FJH Music Company Inc.
Composed by Felix
Bartholdy Mendelssohn.
Edited by John Michael
Cooper. This edition:
urtext edition.
Paperback. Barenreiter
Urtext. Choral score.
Opus 36. Baerenreiter
Verlag #BA09071_91.
Published by Baerenreiter
Verlag (BA.BA09071-91).
ISBN 9790006565467. 27
x 19 cm inches. Text
Language: German,
English.
Felix
Mendelssohn Bartholdy
completed his first
oratorio - St. Paul , op.
36 - in 1836, at the age
of
twenty-seven.
The
first version, which was
premiered on 22 May 1836,
was then extensively
revised by the composer.
This second version,
which at the same time
served as the basis for
the published version,
was premiered as early as
October that year in
Birmingham . The acclaim
with which the oratorio
was received was
exceptional. Within
eighteen months of
completing the score,
Mendelssohn was able to
list fifty performances
of the work. Robert
Schumann praised the work
effusively and even
Richard Wagner, who later
denigrated Mendelssohn,
was full of admiration.
Today, St. Paul belongs
to the core repertoire of
sacred choral
music.
This Urtext
edition of the oratorio,
edited by the
internationally-recognise
d Mendelssohn scholar
Michael Cooper is based
on all critical sources.
As well as the principal
version of the work, the
score also includes for
the first time numbers
which were composed for
the first version and
subsequently removed.
This gives not only an
insight into the history
of the composition of the
work, but also, with the
complete performing
material, into the
performance of the
original version. The
appendices (first
version) which appear in
the full score and vocal
score are not contained
in this choral
score.
The full
score and vocal score
include the German and
English texts of the
oratorio.
The
vocal score is by
Mendelssohn.
-
Urtext edition,
representing the latest
musicological
research - Vocal texts
in German and
English - Supplements
the already existing
material available to
this work
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
10 Great Studies in the Style and Language of Bebop. Composed by Jim Snidero. ...(+)
10 Great Studies in the
Style and Language of
Bebop.
Composed by Jim Snidero.
Brass - Trombone Method
or
Collection;
Improvisation;
Method/Instruction; Play-
Along; Technique
Musicianship. Advance
Music.
Jazz. Book; Digital
Download. Advance Music
#01-
ADV14743. Published by
Advance Music
(Level 6 / Late Intermediate). By Paul Harris. For Piano. This edition: New. Bo...(+)
(Level 6 / Late
Intermediate). By Paul
Harris. For Piano. This
edition: New. Book; Piano
Musicianship; Technique
Musicianship. Faber
Edition. Late
Intermediate. Published
by Faber Music
(Level 3 / Late Elementary). By Paul Harris. For Piano. This edition: New. Book;...(+)
(Level 3 / Late
Elementary). By Paul
Harris. For Piano. This
edition: New. Book; Piano
Musicianship; Technique
Musicianship. Faber
Edition. Late Elementary.
Published by Faber Music
10 Great Studies in the Style and Language of Bebop. Composed by Jim Snidero. ...(+)
10 Great Studies in the
Style and Language of
Bebop.
Composed by Jim Snidero.
Improvisation;
Method/Instruction; Play-
Along; Technique
Musicianship; Woodwind -
Alto Saxophone Method or
Collection. Advance
Music.
Jazz. Book; Digital
Download. Advance Music
#01-
ADV14740. Published by
Advance Music
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names and leadsheet
notation. Series: Hal
Leonard Fake Books. 407
pages. Published by Hal
Leonard.
(A Workbook for Examinations). By John Davies and Paul Harris. For Trumpet. Book...(+)
(A Workbook for
Examinations). By John
Davies and Paul Harris.
For Trumpet. Book; Brass
- B-Flat Cornet (Trumpet)
Method or Collection;
Method/Instruction;
Technique Musicianship.
Faber Edition. Published
by Faber Music
A Progressive Sight-Reading Method with Supporting Audio Available Online. Com...(+)
A Progressive
Sight-Reading
Method with Supporting
Audio
Available Online.
Composed by
Paul Harris.
Method/Instruction; Piano
Musicianship; Technique
Musicianship. Faber
Edition:
Improve Your
Sight-Reading.
Book and Digital
Download.
Faber Music
#12-0571542336.
Published by Faber Music
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more.
SKU:
PR.16500100F
Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F).
ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches.
Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected.
Dramma per musica in 3 acts. Composed by Francesco Cavalli (1602-1676). E...(+)
Dramma per musica in 3
acts. Composed by
Francesco Cavalli
(1602-1676). Edited by
Alvaro Torrente; Nicola
Badolato. This edition:
Edition of selected
works, Urtext edition.
Linen. Francesco Cavalli.
Opere. Score. Duration 3
hours. Baerenreiter
Verlag #BA08901-01.
Published by Baerenreiter
Verlag (BA.BA08901-01).