Expressive Piano Pieces in a Variety of Styles. Composed by Mike Springer...(+)
Expressive Piano
Pieces in a Variety of
Styles. Composed by
Mike Springer. Piano
Supplemental; Promotional
Packet. Lyrical
Landscapes. Recital.
Book. Alfred Music
#00-106942. Published by
Alfred Music (AP.106942).
11 Expressive Piano Pieces in a Variety of Styles. Composed by Mike Springer. ...(+)
11 Expressive Piano
Pieces in
a Variety of Styles.
Composed
by Mike Springer. Book;
Piano
Collection; Piano
Supplemental. Lyrical
Landscapes. Recital. 24
pages. Published by
Alfred
Music
Piano (PA SOLO) - difficult SKU: HL.49008417 (Spring Music). Compo...(+)
Piano (PA SOLO) -
difficult
SKU:
HL.49008417
(Spring Music).
Composed by Peteris
Vasks. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Single sheet.
Composed 1995. 36 pages.
Duration 19'. Schott
Music #ED 9437. Published
by Schott Music
(HL.49008417).
ISBN
9790001131650.
9.0x12.0x0.193
inches.
This Spring
music forms part of the
cycle The Seasons, a
collection for piano
containing the previously
published pieces Balta
ainava (White Landscape)
and Rudens musika (Autumn
music). Nature in all its
shapes and the
relationship of humans to
Nature play an important
role in Vask's works.
Many of his works have
programmatic titles
associated with this
theme, such as landscapes
of burnt earth and music
for migrating birds.
Baritone voice & Piano SKU: ST.Y272 Composed by Rhian Samuel. Vocal music...(+)
Baritone voice & Piano
SKU: ST.Y272
Composed by Rhian Samuel.
Vocal music. Five songs
to poems by Anne
Stevenson. Score. Stainer
& Bell Ltd. #Y272.
Published by Stainer &
Bell Ltd. (ST.Y272).
ISBN
9790220222849.
1.
Arrival Dream 2.
Snow Squalls 3. It
Happens 4. East Wind
5. A Clearer
Memory
The
contrasting aspects of
nature are a major theme
in the work of Rhian
Samuel, and in her song
cycle Spring
Diary for baritone
and piano she responds
passionately to its
vernal magic.
Beginning in dream and
ending in memory, the
five movements of the
collection are a dramatic
response to the turning
season in Wales, conveyed
through the fine detail
of its characteristic
weather and landscape as
observed by the poet Anne
Stevenson.
Premiered at London's
City University,
Spring Diary is
excellent material for
graduate singers and
pianists, who will draw
inspiration from its
vivid and assured
word-setting and
substantial and evocative
keyboard part.
The Miracle of the Spring Chorale SATB SATB, Percussion(s) [Vocal Score] - Intermédiaire/avancé Oxford University Press
Composed by Bob Chilcott. For SATB choir and percussion (Percussion 1: glock (or...(+)
Composed by Bob Chilcott.
For SATB choir and
percussion (Percussion 1:
glock (or similar) and
log drums. Percussion 2:
mark tree and log drums).
Oratorios. Level C
(moderately difficult).
Vocal score. 32 pages.
Duration 10'. Published
by Oxford University
Press
Colorado Springs Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band - Grade 5 SKU: HL.44007324 Grade 5 - Score and Parts....(+)
Concert Band - Grade 5
SKU: HL.44007324
Grade 5 - Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2007.
Duration 720 seconds.
Anglo Music Press
#AMP214. Published by
Anglo Music Press
(HL.44007324).
Col
orado Springs was
commissioned by the
United States Air Force
Academy Band, Lieutenant
Steve Grimo,
Commmander/Conductor.
Colorado Springs, home of
the USAF Academy, is set
in spectacular landscape
towards the southern end
of the Rocky Mountains
and is a popular tourist
resort for skiing and
hiking. The Academy plays
an important part in the
life of the area and
serves as a base for the
USAFA Band, one of the
professional bands
forming part of the
musical life of the U.S.
Air Force. The suite is
in three movements: 1.
The Springs (fanfare) -
“The Springsâ€
is the local residents'
name for the town, and
this first movement
starts with a stirring
fanfare for brass and
percussion, opening with
bold unison horns. The
rest of the brass join in
and woodwind add
decorative figures. After
a short change of style,
the opening material
reappears to close the
movement. 2. Seven Falls
- Seven Falls is a
spectacular waterfall
near to the town which
cascades 181 feet in
seven distinct steps down
a solid cliff of pikes
peak granite. In this
movement, high woodwinds
describe the sparkling
water as it descends to a
popular lookout post near
the bottom of the falls.
3. Pikes Peak - To the
north-west of the town
and reaching an altitude
14,110 feet, Pikes Peak
is the farthest east of
the big peaks in the
Rocky Mountain chain,
which contributed to its
early fame among
explorers and pioneers,
and made it the symbol of
the 1859 Gold Rush to
Colorado with the slogan,
“Pikes Peak or
Bust.†It is the
second-most visited
mountain in the world
behind Japan's Mount
Fuji. This atmospheric
movement describes the
majesty of the mountain
and is based around the
fanfare from the first
movement. Opening on a
solitary bassoon, it is
not long before the main
theme appears under
bubbling woodwinds. The
music reaches a
passionate climax at
which point the opening
fanfare reappears to
bring the whole work to a
close.
Grade 5 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2007.
Duration 720 seconds.
Anglo Music Press
#AMP214. Published by
Anglo Music Press
(HL.44007325).
Colorado
Springs was commissioned
by the United States Air
Force Academy Band,
Lieutenant Steve Grimo,
Commmander/Conductor.
Colorado Springs, home of
the USAF Academy, is set
in spectacular landscape
towards the southern end
of the Rocky Mountains
and is a popular tourist
resort for skiing and
hiking. The Academy plays
an important part in the
life of the area and
serves as a base for the
USAFA Band, one of the
professional bands
forming part of the
musical life of the U.S.
Air Force. The suite is
in three movements: 1.
The Springs (fanfare) -
The Springs is the local
residents' name for the
town, and this first
movement starts with a
stirring fanfare for
brass and percussion,
opening with bold unison
horns. The rest of the
brass join in and
woodwind add decorative
figures. After a short
change of style, the
opening material
reappears to close the
movement. 2. Seven Falls
- Seven Falls is a
spectacular waterfall
near to the town which
cascades 181 feet in
seven distinct steps down
a solid cliff of pikes
peak granite. In this
movement, high woodwinds
describe the sparkling
water as it descends to a
popular lookout post near
the bottom of the falls.
3. Pikes Peak - To the
north-west of the town
and reaching an altitude
14,110 feet, Pikes Peak
is the farthest east of
the big peaks in the
Rocky Mountain chain,
which contributed to its
early fame among
explorers and pioneers,
and made it the symbol of
the 1859 Gold Rush to
Colorado with the slogan,
Pikes Peak or Bust. It is
the second-most visited
mountain in the world
behind Japan's Mount
Fuji. This atmospheric
movement describes the
majesty of the mountain
and is based around the
fanfare from the first
movement. Opening on a
solitary bassoon, it is
not long before the main
theme appears under
bubbling woodwinds. The
music reaches a
passionate climax at
which point the opening
fanfare reappears to
bring the whole work to a
close.
Flute/bassflute (or clarinet), oboe and bassoon - difficult SKU: HL.49018144<...(+)
Flute/bassflute (or
clarinet), oboe and
bassoon - difficult
SKU: HL.49018144
Composed by Benjamin
Schweitzer. This edition:
Saddle stitching. Sheet
music. Woodwind Ensemble.
Performance score, in C.
Composed 2008. 80 pages.
Duration 10'. Schott
Music #ED20746. Published
by Schott Music
(HL.49018144).
ISBN
9790001170079.
9.0x12.0x0.21
inches.
The image
of a landscape in April,
freed from winter's hold,
with its mixture of
barrenness and still dull
colours, characterises
the basic tone of this
piece. Melodic elements
and fast virtuoso
figurations cannot be
found, instead the piece
is dominated by subtle
nuances of just a few
sounds and textures. The
harmony is based almost
entirely on a single
chord type. Occasionally,
short chains of
repetitions and
oscillating impulses
emerge from this string
of sounds.Ambitious
performers can use this
demanding and varied
piece to try out modern
playing techniques.
Piano Accompaniment; Violin SKU: HL.49045418 For Violin and Piano....(+)
Piano Accompaniment;
Violin
SKU:
HL.49045418
For
Violin and Piano.
Composed by Joji Yuasa.
This edition: Saddle
stitching. Sheet music.
String Solo. Classical.
Softcover. Composed
2007-2011. 40 pages.
Duration 16'. Schott
Music #SJ1181. Published
by Schott Music
(HL.49045418).
ISBN
9784890664856.
9.0x12.0x0.135
inches.
Four
Imaginary Landscapes from
Basho for violin and
piano was commissioned by
Concert Hall Shizouka.
This work consists of
four pices which can be
performed independently.
Three pieces: 2. Spring
(Petal by petal
fluttering down yellow
mountain roses-, Sound of
the rapids.) 3. Summer
(The summer grass-,
holding still the dreams
of the stalwart
warriors.), and 4. Autumn
(Chrysanthemum scent...,
in Nara Ancient statues
of Momo Kodama (piano) in
Shizouka on March 9th,
2007. 1 Winter (Sound of
oar hitting waves in the
dead of night, Freezing
bowels..., tears.) was
premiered by Keiko
Urushibara (violin) and
Shigeo Neriki (piano) in
Shizouka on January 14th,
2011. Hisako Takahashi
(violin) and Kyoko Sasaki
(piano) performed all of
the pieces on March 13th,
2011.
10 Expressive Piano Pieces in a Variety of Styles. Composed by Mike Springer. ...(+)
10 Expressive Piano
Pieces in
a Variety of Styles.
Composed
by Mike Springer. Book;
Piano
Collection; Piano
Supplemental. Lyrical
Landscapes. Recital. 24
pages. Published by
Alfred
Music
9 Expressive Piano Pieces in a Variety of Styles. Composed by Mike Springer. B...(+)
9 Expressive Piano Pieces
in
a Variety of Styles.
Composed
by Mike Springer. Book;
Piano
Collection; Piano
Supplemental. Lyrical
Landscapes. Recital. 24
pages. Published by
Alfred
Music
A Kind of Miniatures / Panta Rhei. By Lutz Gerlach. For Piano. Solos. AMA Verlag...(+)
A Kind of Miniatures /
Panta Rhei. By Lutz
Gerlach. For Piano.
Solos. AMA Verlag.
Contemporary. Level:
Beginning-Intermediate.
Book. Size 9x12. 144
pages. Published by AMA
Verlag. ISBN 3899220102.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Violin and Piano SKU: YM.GTW01100445 Composed by Various. Japanese Tradit...(+)
Violin and Piano
SKU:
YM.GTW01100445
Composed by Various.
Japanese Traditional
Songs; Strings. Score and
part. Yamaha Music Media
#GTW01100445. Published
by Yamaha Music Media
(YM.GTW01100445).
ISBN
9784636103052. 8.5 x 12
inches.
Here, you
can enjoy the beautiful
Japanese classic tunes
expressing the changing
seasonal sentiments in
this book. It features 25
songs, mainly nursery
rhymes, children's songs,
and shoka songs, and it
comes with a karaoke CD
of piano accompaniment.
Please enjoy these
wonderful arrangements,
which are perfect for
recitals and
concerts.
Piano SKU: HL.48025273 For Piano. Composed by Jean Sibelius. BH Pi...(+)
Piano
SKU:
HL.48025273
For
Piano. Composed by
Jean Sibelius. BH Piano.
Classical. Softcover. 22
pages. Fennica Gehrman
#M550113046. Published by
Fennica Gehrman
(HL.48025273).
ISBN
9798350100426. UPC:
196288155263. 9.0x12.0
inches.
This opus
dates from 1929 is
Sibelius's last work for
piano. The most original
aspect of this collection
is its ascetic, even bare
quality, although it also
contains some highly
individual tonal shifts
and colourings. The
mysterious Metsälaulu
(Song in the Forest) is
particularly capturing.
(1. Landscape / Maisema -
2 Winter Scene /
Talvikuva - 3. Forest
Lake / Metsälampi - 4.
Song in the Forest /
Metsälaulu - 5. Spring
Vision /
Kevätnäky). This
new edition is based on
the complete critical
edition “Jean
Sibelius Worksâ€
(JSW) and contains a new
foreword and an early
version of the Song of
the Forest.