By Ange Flegier; Eugene Cowles; Frederick Field Bullard; Gustav Hasse; Harvey B....(+)
By Ange Flegier; Eugene
Cowles; Frederick Field
Bullard; Gustav Hasse;
Harvey B. Gaul; Ludwig
Fischer; Robert Braine;
Wolfgang Amadeus Mozart.
Edited by Heinrich Kiehl;
Martin Mason. Text:
Alfred De Vigny; Alma M.
Coombs; Arthur Macy; Carl
Muchler; Eugene Cowles;
Maxwell Struthers Burt;
Monte Wellings; Richard
Hovey; Schikaneder;
Thomas Moore. For Bass.
Piano/Vocal Score. 94
pages. Published by
Theodore Presser Company.
(Newly Composed Fiddle Tunes). Edited by Paul Stewart Cranford. For Fiddle and V...(+)
(Newly Composed Fiddle
Tunes). Edited by Paul
Stewart Cranford. For
Fiddle and Violin.
Transcribed Solos.
Cranford Publications.
Fiddle Tunes.
Intermediate. Book/CD
Set. 112 pages
SKU: BA.BVK01912 Die Münchener Jahre 1961-1985. Edited by Renat...(+)
SKU: BA.BVK01912
Die Münchener Jahre
1961-1985. Edited by
Renate Ulm. Hardback.
Book. 131 pages.
Baerenreiter Verlag
#BVK01912_00. Published
by Baerenreiter Verlag
(BA.BVK01912).
ISBN
9783761819128. 23.5 x
23.5 cm
inches.
Music has
powers to summon forth
the best in mankind.
This was one of the
maxims of the conductor
Rafael Kubelik , whose
Munich career is now
being celebrated in this
picture book. His
performances were noted
for their innate
musicality, impressive
vitality and rigorous yet
highly emotional
readings. Kubelik was a
humanist and homo
politicus who stood at
the helm of the Bavarian
Radio Symphony Orchestra
from 1961 to 1979 as its
principal conductor and
made regular guest
appearances with the
orchestra for six years
thereafter. His era has
gone down in the history
of the orchestra. Now, in
memory of the tenth
anniversary of his death
on 11 August [2006], this
picture book recalls
Kubelik's legendary years
in Munich , where this
Czech emigre found a
second home.
Freedom was more than
just a word for Kubelik
:Only in a spirit of
mutual respect,
friendship, and love can
we human beings live
freely.
The new
book, with its
bibliophile appearance,
opens with an essay by
the former executive
director of the Bavarian
Broadcasting System,
Albert Scharf . It also
contains an interview
with Martin Kubelik , the
conductor's son, as well
as writings by Rafael
Kubelik and articles
about him in German and
English.
Rounding off the volume
are an epilogue by Mariss
Jansons , the orchestra's
current principal
conductor, and a brief
biography of Rafael
Kubelik .
DVD: - Rafael Kubelik
and the Bavarian Radio
Symphony Orchestra -
The rehearsal and concert
recording of the overture
to the operaThe Bartered
Brideby Bedrich Smetana.
Producer: Hugo
Kach
Kantate für
Männerchor und
Orchester
(tschechisch/deutsch/engl
isch) mit Supplement:
Erste Fassung 1911,
(tschechisch).
Composed by Leos Janacek.
Edited by Jan Hanus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek B/3.
Complete edition, Score.
Composed 1920. Duration 7
minutes. Baerenreiter
Verlag #BA06844_00.
Published by Baerenreiter
Verlag (BA.BA06844).
ISBN 9790006483266.
34.3 x 27 cm inches. Text
Language: Czech, German,
English. Translation:
Kurt Honolka / Bernard
Keeffe. Text: Martin
(Pseudonym fur Maximilian
Kunert)
Kurt.
Kantate fur
Mannerchor und Orchester
(tschechisch/deutsch/engl
isch) mit Supplement:
Erste Fassung 1911,
(tschechisch).
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
Choral (Studiotrax CD) SKU: HL.35026708 Composed by Joseph M. Martin. Sha...(+)
Choral (Studiotrax CD)
SKU: HL.35026708
Composed by Joseph M.
Martin. Shawnee Sacred.
General Worship. CD only.
Published by Shawnee
Press (HL.35026708).
ISBN 9781423486831.
UPC: 884088450847. 5x5
inches.
Uses:
General
Scriptu
re: Job
1:21
From the
opening chords of the
hymn, When Morning
Gilds the Skies, this
powerful ballad reaches
into the heart of the
worshipper with a
powerful reminder of our
calling to be people of
alleluia and children of
praise. This anthem
builds and builds to an
impressive climax
delivering a sure message
of commitment and
service. Stan Pethel's
orchestrations are an
outstanding option.
Powerful! Available
separately: SATB, iPrint
Full Orch CD-ROM,
StudioTrax CD. Duration:
ca. 4:08.
Chamber Music Clarinet, Piano, Violin SKU: CF.MXE71 Composed by Martin Br...(+)
Chamber Music Clarinet,
Piano, Violin
SKU:
CF.MXE71
Composed by
Martin Bresnick. SWS.
Contemporary. Set of
Score and Parts. With
Standard notation. 23+6+5
pages. Carl Fischer Music
#MXE71. Published by Carl
Fischer Music (CF.MXE71).
ISBN 9781491144749.
UPC: 680160902248. 9 x 12
inches.
The day
that Australian and New
Zealand forces joined the
Allies for an invasion of
the Gallipoli Peninsula
of Turkey in World War I,
with disastrous
consequences, is
celebrated in Australia
as Anzac Day (Australian
and New Zealand Army
Corps). To honor this
special day, Bresnick
takes inspiration from
two selected poems by
Bertolt Brecht (And I
Always Thought and Legend
of the Unknown Soldier
Beneath the Triumphal
Arch). Commissioned to
commemorate
Australia’s Anzac
Day, similar to Memorial
Day, and inspired by two
Brecht poems…The
somber opening violin and
clarinet lines unfolded
to haunting effect before
eventually reaching a
fervent climax. --Vivien
Schweitzer, The New York
Times.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
SATB and Piano Jazz Ensemble Optional Choral; Piano Accompaniment (SATB with Pia...(+)
SATB and Piano Jazz
Ensemble Optional Choral;
Piano Accompaniment (SATB
with Piano)
SKU:
HL.48024900
Come
Down, O Love Divine; God
Is Love/Love Divine; Let
All Mortal Flesh Keep
Silence. Composed by
Ralph Vaughan-Williams.
Arranged by Will Todd. BH
Large Choral. Classical,
Jazz. Octavo. 28 pages.
Boosey & Hawkes
#M060136412. Published by
Boosey & Hawkes
(HL.48024900).
ISBN
9781784545475. UPC:
840126930696.
7.25x10.5x0.108
inches.
These jazz
arrangements of
well-known hymns were
written for Andrew Earis
and choirs of St
Martin-in-the-Fields,
London for various
services and BBC
broadcasts from that
church. The setting of
“Come down, O Love
divine†supplies
some new harmonic moves
to Vaughan Williams'
lovely tune “Down
Ampneyâ€, gradually
adding vocal harmony
through the verses, with
a short descant section
in the final verse. The
compound-time arrangement
of “God Is
Love,†which can
also be sung to the
supplied words of Charles
Wesley's hymn “Love
Divine,†again adds
more of Todd's iconic
jazz harmonies and
textures in the vocal
parts with each
successive verse. The
setting of “Let all
mortal flesh keep
silence†is
structured to gradually
build layers over the
moody piano chords and
the pedal harmony. At the
end the music builds to a
large climax for the text
“Lord most
highâ€. The hymns
can be performed using
the supplied piano part
or using the chord
symbols above. Double
bass may also be used in
addition to piano, again
following the supplied
chord symbols, and parts
for optional jazz
ensemble are available.
Performers of these hymns
should feel free to
include the congregation
or audience in
imaginative ways.
Choral (SATB Choir) SKU: HL.35032791 Composed by Joseph M. Martin. Shawne...(+)
Choral (SATB Choir)
SKU: HL.35032791
Composed by Joseph M.
Martin. Shawnee Sacred.
General Worship, Sacred.
Octavo. 12 pages.
Published by Shawnee
Press (HL.35032791).
UPC: 888680926038.
6.75x10.5 inches.
A
powerful song of unity
wraps the audience in
passionate music and
meaningful words. The
main theme in a lilting
meter gradually builds to
an impressive climax,
delivering a credo for
the worshipping church:
“Grace is our
music; love is our theme.
Hope is our message;
peace is our
dream.” Wonderfully
conceived for church
dedication moments or
heritage observances,
this sermon in song will
minister to the community
of faith and its
mission.
(High Voice (contains Schwanengesang D 957)). By Franz Schubert (1797-1828). Edi...(+)
(High Voice (contains
Schwanengesang D 957)).
By Franz Schubert
(1797-1828). Edited by
Walther Durr. For High
Voice, Piano. Collection;
Playing Score; Urtext
Edition (paperbound)
(Medium Voice (contains Schwanengesang D 957)). By Franz Schubert (1797-1828). E...(+)
(Medium Voice (contains
Schwanengesang D 957)).
By Franz Schubert
(1797-1828). Edited by
Walther Durr. For Middle
Voice, Piano. Collection;
Playing Score; Urtext
Edition (paperbound)
(Low Voice (contains Schwanengesang D 957)). By Franz Schubert (1797-1828). Edit...(+)
(Low Voice (contains
Schwanengesang D 957)).
By Franz Schubert
(1797-1828). Edited by
Walther Durr. For low
voice solo and piano.
Collection; Playing
Score; Urtext Edition
(paperbound)