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

SKU: CF.CAS127F

Composed by Kathryn Griesinger. Sws. Cas. Full score. 12 pages. Carl Fischer Music #CAS127F. Published by Carl Fischer Music (CF.CAS127F).

ISBN 9781491157466. UPC: 680160916047. 9 x 12 inches.

A relentless 6/8 accompaniment drives this piece forward with exciting momentum. Two-against-three rhythm patterns add urgency to the theme, requiring precision in counting and maintaining an even tempo. Intensity builds like the first piercing light on the morning horizon, flourishing toward a stately middle section that reflects the grandeur of glorious colors and spacious skies. Players with the melody should take care to sustain with a warm, ringing tone. The pizzicato accompaniment should also stay unrushed and steady. The following restatement of the fast opening theme soars to a triumphant finale.

About Carl Fischer Concert String Orchestra Series

Thi s 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

Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5

SKU: CF.YAS246F

Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by Austin Isaac. Yas. Full score. Duration 3 minutes, 17 seconds. Carl Fischer Music #YAS246F. Published by Carl Fischer Music (CF.YAS246F).

ISBN 9781491165386. UPC: 680160924295. Key: D minor.

Nikolai Rimsky-Korsakov completed this programmatic overture in the spring of 1888 and dedicated it to the memory of two of his friends who were also prolific Russian composers, Modest Mussorgsky and Alexander Borodin. He utilized original melodies and traditional melodies from liturgical chants of the Russian Orthodox Church. His brilliance as an orchestrator was showcased in this large work for full orchestra and included multiple time and key signatures in addition to various solos and cadenzas.This arrangement stays true to the original key signatures and includes all main melodic and harmonic voices and structure in a continuous performance that is accessible and challenging. Care should be shown to the changes in meter, tempo and key signatures along with techniques such as divisi and tremolo. Subdivision and counting can be reinforced throughout this piece. In addition, suggested fingerings have been given to help navigate chromatic and shifting portions of this arrangement. Enjoy performing this arrangement of Nikolai Rimsky-Korsakov’s masterpiece!

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

For Trombone. Arranged by P. Makovecz. EMB. 61 pages. Published by Editio Musica Budapest.

Trombone

SKU: BT.EMBZ14143

By Makovecz Pál. Studies & Exercises. Book Only. Composed 1997. 52 pages. Editio Musica Budapest #EMBZ14143. Published by Editio Musica Budapest (BT.EMBZ14143).

English-German-Hungari an.

The collection of 130 studies published in two volumes was compiled with the aim in mind to meet the demands of trombone instruction from the highest classes of the music schools to the Academy of Music. lt was selected from those 'traditional' studies which played a decisive role in trombone playing and instruction at the turn of the century and have become the most frequently performed studies since then. However old-fashioned these studies may seem, they belong to the best ones with regard to safe, smooth technique and the elaboration of a nice sound and will definitely serve their pur­pose in the future as well. On compiling the volumes, I have attempted to observe not only asequence according to grade of difficulty but the variety of characters as well. I am convinced that these studies are both useful and, when performed sufficiently colorfully, may contribute to overcoming the monotony of technical exercises. The articulation sings and markings of dynamics, which often differ from the original, try to meet this aim.I had already used this collection of studies before it was printed. 1 had to realize soon that the technical level of the first pieces was too high to assure a smooth transition from the trombone tutors written for beginners. As a result, I found it necessary to start the first volume with a shortened and facilitated version of some studies. Since these pieces in question have been changed considerably, a * beside the composer's name refers to the fact in each case that they are arrangements.I recommend my work to my past, present and future pupilsPál Makovecz.

(Chopin National Edition 33 B Vol. VIIIa). Composed by Frederic Chopin (1810-1849). Edited by Jan Ekier and Pawel Kaminski. For Orchestra (Study Score). PWM. 110 pages. Polskie Wydawnictwo Muzyczne #51600911. Published by Polskie Wydawnictwo Muzyczne

Composed by John Rutter (1945-). For SSAATTBB choir and SSATB choir a cappella. Mixed Voices. John Rutter Anniversary Edition. Sacred. Very easy. Vocal score. 8 pages. Duration 5 mintues. Published by Oxford University Press

Piano - intermediate to difficult

SKU: HL.49045232

For Piano. Composed by Renato de Grandis. This edition: Saddle stitching. Sheet music. Piano. The 48 Preludi are either short sketches or expansive concert pieces which also allude to types of setting or themes from the piano music since Scarlatti. Suitable for music lessons and competitions, either individually, in freely formed groups or as a cy. Classical. Softcover. Composed 1999-2000. 46 pages. Duration 32'. Schott Music #ED22099. Published by Schott Music (HL.49045232).

ISBN 9790001201667. UPC: 841886029330. 9.0x12.0x0.166 inches.

The 48 Preludes by the Venetian composer Renato de Grandis (1927-2008) were composed, largely, between 1998-2002. It was only subsequently that he arranged them into 4 cycles of 12 preludes, drawing also from earlier compositions. Written in a traditional pianistic style, they are short sketches which are sometimes characterized by musical thoughts, sometimes by moods or by natural phenomena. The fourth volume presented here is once again divided into two cycles of 6 preludes each, with the first cycle paying tribute to the landscapes and towns of Friuli north of Venice.

Piano - intermediate to difficult

SKU: HL.49045427

For Piano. Composed by Renato de Grandis. This edition: Saddle stitching. Sheet music. Piano. The 48 Preludi are either short sketches or expansive concert pieces which also allude to types of setting or themes from the piano music since Scarlatti. Suitable for music lessons and competitions, either individually, in freely formed groups or as a cy. Classical. Softcover. Composed 2001. 48 pages. Duration 32'. Schott Music #ED22100. Published by Schott Music (HL.49045427).

ISBN 9790001201674. UPC: 841886030848. 9.25x12.0x0.184 inches.

The 48 Preludi of the Venetian composer Renato de Grandis (1927-2008) were created, in large part, in the years 1998-2002. It was only subsequently that he arranged them in 4 cycles of 12 preludes each, while also drawing back on older compositions. Written in a traditional pianistic style, they are short sketches which are sometimes characterized by musical thoughts, sometimes by moods or natural phenomena. The fourth volume presented here is once again divided into two cycles of 6 preludes each, with the first cycle paying tribute to the landscapes and towns of Friuli north of Venice.

Harp; Early Music

SKU: UT.MAG-293

Composed by John Stanley. Arranged by Simona Marchesi. Magadis. Classical. Score. Ut Orpheus #MAG 293. Published by Ut Orpheus (UT.MAG-293).

ISBN 9790215328341. 9 x 12 inches.

John Stanleyâ??s 30 Voluntaries (translatable as preludes), published in three collections as opp. 5, 6 and 7, are among the best known organ works of the 18th century. These free-style compositions were received with great appreciation by his contemporaries; the first volume, published in 1748, immediately achieved canonical status and encouraged other composers to write similar collections. The pieces, of easy to medium difficulty, are for manuals (alternatively, they can also be played on the harpsichord) and comprise two movements, slow and fast, many of which are characterized by a certain rhythmic energy and richness of color, expressed through the use of solo registers such as cornet and trumpet, with multiple echo effects, here adapted and transformed into piano, forte, and playing near the sound board effect, limiting, or rather modifying, their results.

(solos: 2vl.va.vc - 4(4picc.A-fl).3.3.B-clar. 3.dble bsn - 4.3.3.1 - perc(4) - hp - pno - str: 10.10.8.8.6)

SKU: BR.PB-5714

Music for Orchestra with String Quartet. Composed by Helmut Lachenmann. Softcover. Partitur-Bibliothek (Score Library). Solo concerto; Dances/marches; Music post-1945. Sheet Music. Composed 1979/80. 176 pages. Duration 36'. Breitkopf and Haertel #PB 5714. Published by Breitkopf and Haertel (BR.PB-5714).

ISBN 9790004216514. 10.5 x 14 inches.

More than my earlier works, this one is interspersed with metrically bound rhythms and musicianly characters that constantly recrystallize and drift towards or away from familiar situations.The familiar: These are dance-like figures and music-making formulas, but also songs and, in two cases fragments of Bach's music - playfully collected memories of impressions in which - consciously and unconsciously - I am embodied with that collective comfort in whose protection bourgeois thinking and feeling, magically protected, grow up and emerge apart.(It is well known that such security has its fetishes from the childlike to the adult stage: Home, religious bond, holidays, tradition, longing for childhood - the superficiality may have little idea of the depth that opens up underneath. There is also no question that we are still marked by such security even when the contradictions and alienation of existence force us to step out of their protection, to recognize and act upon reality, and to oppose the domination of such inner bonds where their original truth has become the fatal untruth of comfortable illusion, stubbornly and fearfully conjured idyll and reactionary narrow-mindedness.My music feeds on figures in which such memories are encapsulated. It deals with them not much differently than in other pieces with the elements of the traditional musical concept of material, having already always reflected compositionally as a product of sociality and anticipation of musical expression, i.e. it moved into a structurally expanded context and expressively redefined from there.Such an approach aims at overcoming lack of freedom: grasping as part of conceiving, i.e. not philosophical reflection, but rather an artistically gripping reflex by intervening in the physical immediacy of such predetermined elements. These penetrate and infect the structural events, inducing a musicianship that cannot be relied upon; the music jumps onto rhythms like onto moving vehicles, allows for being carried by them until they deform or disintegrate. This creates an incline of rhythmically shaped situations: sequence and interweaving of dances and structures.The role of the solo string quartet is versatile, obbligato and concertante, leading and accompanying in a changing sense. Set as a chamber music apparatus in an orchestral landscape, it repeatedly forces its own sound dimensions onto the orchestra, it must accept being drowned out at times, it nests in the holes of tutti fields, it acts as a louse in the fur, forcing one to listen in and out.The Tanzsuite with Deutschlandlied is structured as follows:I. Section. 1. Introduction - 2. Waltz - 3. March - 4. Bridge -II. Section. 5. Siciliano - 6. Capriccio - 7. Valse lente -III. Section. 8. Bridge - 9. Gigue - 10. Tarantelle - 11. Bridge -IV. Section. 12 Aria I - 13 Polka - 14 Aria IIV. Section. 15. Introduction - 16 Gallop - 17 Coda (Aria III)All 17 parts merge into one another.(Helmut Lachenmann, 1980)CDs/LP/DVD:Arditti-Q uartett, Deutsches Symphonie-Orchester Berlin, cond. Olaf HenzoldCD Montaigne Auvidis MO 782019Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain Cambreling (Excerpt)CD BMG/RCA 74321 73510 2 (Musik in Deutschland 1950-2000)Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain CambrelingLP DMR 1028-30Arditti Quartet, SWR Sinfonieorchester Baden-Baden und Freiburg, cond. Hans Zender Excerpt on CD ,,Auswahl von zehn Urauffuhrungen aus 70 Jahren, SWR Sinfonieorchester Baden-Baden und Freiburg Arditti Quartet, Staatsorchester Stuttgart, cond. Sylvain Cambreling DVD ,,Lachenmann-Perspektiven 6 (Breitkopf & Hartel, BHM 7816) Bibliography:Cavalotti, Pietro: Differenzen. Poststrukturalistische Aspekte in der Musik der 1980er Jahre am Beispiel von Helmut Lachenmann, Brian Ferneyhough und Gerard Grisey (= Sonus. Schriften zur Musik, hrsg. von Andreas Ballsteadt, Band 8), Schliengen: Argus 2006, pp. 79-128.Das sind doch alles Deutschlandlieder! Helmut Lachenmann im Gesprach mit Michael Rebhahn, in: Der Taktgeber. Das Magazin der Jungen Deutschen Philharmonie, Heft 40 (Sommer 2019), S. 6f.Stawowy, Milena: Fluchtversuche in die Hohle des Lowen. Helmut Lachenmanns Tanzsuite mit Deutschlandlied, in: MusikTexte 67/68 (1997), pp. 77-90.Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmanns Orchestral Works, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 125-144.

World premiere: Donaueschingen (Donaueschinger Musiktage), October 18, 1980.