By Gustav Holst (1874-1934). Arranged by Mark Hayes. For SATB choir with optional brass and timpani. The Mark Hayes Choral Series. Hymntune, General Worship, Sacred. Octavo. 12 pages. Published by Hope Publishing Company

Vocal and Orchestra

SKU: HL.50495416

10 Choral Parts. Composed by Antonio Vivaldi. MGB. Score Only. Composed 1991. Ricordi #NR135448/01. Published by Ricordi (HL.50495416).

PER C. (O S.), 2 VL., VLA E B. - INTRO. AL GLORIA RV639/639A) E GLORIA RV 588 - PARTI CORO.

Piano/Vocal Piano; Voice

SKU: HL.148619

Composed by Bob Cole, James Weldon Johnson, and John Rosamond Johnson. E.B. Marks. Vaudeville. Softcover. 180 pages. Edward B. Marks Music #EBM148619. Published by Edward B. Marks Music (HL.148619).

ISBN 9781495029684. UPC: 888680078515. 9.0x12.0x0.492 inches. With a Foreword by Thomas Riis.

Late in his life, composer J. Rosamond Johnson (Lift Ev'ry Voice and Sing) submitted to his longtime publisher, E.B. Marks, a list of songs that would comprise a volume of his best early popular songs written with his pre-1910 partner Bob Cole and his brother, James Weldon Johnson (Autobiography of an Ex-Colored Man). That list was never put into print...until now. Featuring an introductionby Dr. Thomas Riis (Just Before Jazz) and several rare photos, this new compilation is the latest legacy offering from the Marks archive, which contains a rich heritage of turn-of-the-century African-American, and thus distinctly American, pre-jazz-era popular song. Includes: Ain't Dat Scan'lous * Big Indian Chief * The Big Red Shawl * The Bleeding Moon * Congo Love Song * The Countess of Alagazam * Fishing * I Don't Want to Be No Actor Man No Mo' * I'll Always Love Old Dixie * I'll Keep a Warm Spot in My Heart for You * I've Got Troubles of My Own * The Katy-Did, the Cricket and the Frog * Lazy Moon * Lit'l Gal * Louisiana Lize * Lovely Daughter of Allah * Ma Mississippi Belle * The Maiden with the Dreamy Eyes * Mudder Knows * My Heart's Desiah is Miss Mariah * My Castle on the Nile * Nobody's Lookin' but de Owl an' de Moon * Oh, Didn't He Ramble * The Old Flag Never Touched the Ground * On the Road to Monterey * The Pathway of Love * Roll Them Cotton Bales * Save It for Me! * The Spirit of the Banjo! * Sugar Babe * Two Eyes * Under the Bamboo Tree * When de Jack O'Lantern Starts to Walk About * When It's All Goin' Out, and Nothin' Comin' In * Who Do You Love?

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1216343-010

Composed by Jan Van der Roost. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2021. De Haske Publications #DHP 1216343-010. Published by De Haske Publications (BT.DHP-1216343-010).

English-German-French- Dutch.

This short but solemn overture was written on the occasion of the 110th jubilee of Harmonie Hautcharage, Luxembourg. It is an homage to Jean-Paul Frisch and his son Gérard (the present conductor), who each have been conducting theensemble for many years. Under their leadership, the band has developed and improved remarkably. The very first musical theme, presented during the introduction of this little overture, is based on the letters hidden in the namesJean-Paul and Gérard Frisch (in which h is considered b as it is in German), thus aiming the spotlight on both key figures in the history of Harmonie Hautcharage. After the rather stately intro, the allegro is more joyful andlighthearted, thus depicting the optimism of the many young players of the band. The end is exciting and energetic: it radiates positivity and belief in the future.

Deze korte maar plechtige ouverture is geschreven ter gelegenheid van het 110-jarig bestaan van Harmonie Hautcharage uit Luxemburg. Het stuk is een eerbetoon aan Jean-Paul Frisch en diens zoon Gérard (de huidige dirigent), die hetensemble ieder vele jaren lang hebben gedirigeerd. Onder hun leiding heeft het orkest zich enorm ontwikkeld en verbeterd. Het eerste muzikale thema, ge ntroduceerd in de inleiding van deze kleine ouverture, is gebaseerd op deletters die verborgen zitten in de namen Jean-Paul en Gérard Frisch (waarbij de h als b wordt beschouwd zoals in Duitsland het geval is). Hiermee worden beide sleutelfiguren uit de geschiedenis van Harmonie Hautcharage in deschijnwerpers gezet. Na de vrij statige opening klinkt het allegro vreugdevoller en luchtiger, waarmee het optimisme van de vele jonge spelers uit het orkest wordt weerspiegeld. Het meeslepende en energieke slot ademt positiviteiten geloof in de toekomst.

Diese kurze, aber feierliche Ouvertüre wurde anlässlich des 110-jährigen Jubiläums der Harmonie Hautcharage aus Luxemburg geschrieben. Es ist eine Hommage an Jean-Paul Frisch und seinen Sohn Gérard (den derzeitigen Dirigenten),die das Ensemble seit vielen Jahren leiten. Unter ihrer Leitung hat sich das Blasorchester auf bemerkenswerte Art und Weise weiterentwickelt und verbessert. Das allererste musikalische Thema, das in der Einleitung dieser kleinenOuvertüre vorgestellt wird, basiert auf den Buchstaben, die in den Namen Jean-Paul und Gérard Frisch enthalten sind. Damit rückt es die beiden Schlüsselfiguren in der Geschichte der Harmonie Hautcharage in den Vordergrund. Auf diemajestätische Einleitung folgt ein fröhliches und unbeschwertes Allegro, das den Optimismus der vielen jungen Mitspieler des Blasorchesters widerspiegelt. Der Schluss ist spannend, energiegeladen und strahlt eine positiveEinstellung

Courte mais solennelle, cette ouverture a été écrite l’occasion du 110e anniversaire de l’harmonie luxembourgeoise Hautcharage. Il s’agit d’un hommage Jean-Paul Frische et son fils, Gérard (le chef actuel de l’harmonie), quidirigent tous deux l’ensemble depuis de nombreuses années. Sous leur direction, l’orchestre s’est remarquablement développé et amélioré. Le tout premier thème, exposé dès l’introduction de cette petite ouverture, est fondé surcertaines lettres des noms Jean-Paul en Gérard Frisch (où le « h » représente un « Si », comme dans la notation allemande), mettant ainsi en avant les deux personnages clés de l’histoire de l’harmonie Hautcharage. Après uneintroduction quelque peu majestueuse, l’allegro est plus léger et enjoué, reflétant ainsi l’optimisme des nombreux jeunes musiciens de l’orchestre. La conclusion est énergique et exubérante, rayonnant de positivité et de confianceen l’avenir.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1216343-140

Composed by Jan Van der Roost. Concert and Contest Collection CBHA. Concert Piece. Score Only. Composed 2021. 23 pages. De Haske Publications #DHP 1216343-140. Published by De Haske Publications (BT.DHP-1216343-140).

English-German-French- Dutch.

This short but solemn overture was written on the occasion of the 110th jubilee of Harmonie Hautcharage, Luxembourg. It is an homage to Jean-Paul Frisch and his son Gérard (the present conductor), who each have been conducting theensemble for many years. Under their leadership, the band has developed and improved remarkably. The very first musical theme, presented during the introduction of this little overture, is based on the letters hidden in the namesJean-Paul and Gérard Frisch (in which h is considered b as it is in German), thus aiming the spotlight on both key figures in the history of Harmonie Hautcharage. After the rather stately intro, the allegro is more joyful andlighthearted, thus depicting the optimism of the many young players of the band. The end is exciting and energetic: it radiates positivity and belief in the future.

Deze korte maar plechtige ouverture is geschreven ter gelegenheid van het 110-jarig bestaan van Harmonie Hautcharage uit Luxemburg. Het stuk is een eerbetoon aan Jean-Paul Frisch en diens zoon Gérard (de huidige dirigent), die hetensemble ieder vele jaren lang hebben gedirigeerd. Onder hun leiding heeft het orkest zich enorm ontwikkeld en verbeterd. Het eerste muzikale thema, ge ntroduceerd in de inleiding van deze kleine ouverture, is gebaseerd op deletters die verborgen zitten in de namen Jean-Paul en Gérard Frisch (waarbij de h als b wordt beschouwd zoals in Duitsland het geval is). Hiermee worden beide sleutelfiguren uit de geschiedenis van Harmonie Hautcharage in deschijnwerpers gezet. Na de vrij statige opening klinkt het allegro vreugdevoller en luchtiger, waarmee het optimisme van de vele jonge spelers uit het orkest wordt weerspiegeld. Het meeslepende en energieke slot ademt positiviteiten geloof in de toekomst.

Diese kurze, aber feierliche Ouvertüre wurde anlässlich des 110-jährigen Jubiläums der Harmonie Hautcharage aus Luxemburg geschrieben. Es ist eine Hommage an Jean-Paul Frisch und seinen Sohn Gérard (den derzeitigen Dirigenten),die das Ensemble seit vielen Jahren leiten. Unter ihrer Leitung hat sich das Blasorchester auf bemerkenswerte Art und Weise weiterentwickelt und verbessert. Das allererste musikalische Thema, das in der Einleitung dieser kleinenOuvertüre vorgestellt wird, basiert auf den Buchstaben, die in den Namen Jean-Paul und Gérard Frisch enthalten sind. Damit rückt es die beiden Schlüsselfiguren in der Geschichte der Harmonie Hautcharage in den Vordergrund. Auf diemajestätische Einleitung folgt ein fröhliches und unbeschwertes Allegro, das den Optimismus der vielen jungen Mitspieler des Blasorchesters widerspiegelt. Der Schluss ist spannend, energiegeladen und strahlt eine positiveEinstellung

Courte mais solennelle, cette ouverture a été écrite l’occasion du 110e anniversaire de l’harmonie luxembourgeoise Hautcharage. Il s’agit d’un hommage Jean-Paul Frische et son fils, Gérard (le chef actuel de l’harmonie), quidirigent tous deux l’ensemble depuis de nombreuses années. Sous leur direction, l’orchestre s’est remarquablement développé et amélioré. Le tout premier thème, exposé dès l’introduction de cette petite ouverture, est fondé surcertaines lettres des noms Jean-Paul en Gérard Frisch (où le « h » représente un « Si », comme dans la notation allemande), mettant ainsi en avant les deux personnages clés de l’histoire de l’harmonie Hautcharage. Après uneintroduction quelque peu majestueuse, l’allegro est plus léger et enjoué, reflétant ainsi l’optimisme des nombreux jeunes musiciens de l’orchestre. La conclusion est énergique et exubérante, rayonnant de positivité et de confianceen l’avenir.

By Ricky Ian Gordon, Richard Nelson. Vocal Score. 230 pages. Published by Hal Leonard.

(SATB). By Gabriel Faure (1845-1924). Arranged by Bruce Howden and B Howden. For SATB choir, soprano voice solo, baritone voice solo and piano accompaniment (SATB). Choral Large Works. Classical Period. Difficulty: difficult. Conductor's score. Vocal score, piano reduction and lyrics. 76 pages. G. Schirmer #ED2243. Published by G. Schirmer

By Various. Edited by Trubel, Gerhard. Hymn settings, Mass Sections, Psalms, German; Choral Collections, Mixed Choir, Music for Casuals; Occasions: Eucharist, Communion, Peace and Justice, Prayer, Wedding, Confirmation, Praise and thanks, Morning, Midday, Evening, Psalms, Baptism, Mourning, Death, Our Father; Use during church year: Advent

Violin and orchestra

SKU: BO.B.3340

Composed by Jordi Cervello. Instrumental Sets. Duration 29:00. Published by Editorial de Musica Boileau (BO.B.3340).

ISBN 9788480207591.

Engl ish comments:
My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The author

Comentari os del Espanol:
A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.

Piano

SKU: BT.ESZ-01494800

Composed by Sandor Veress. Score Only. Edizioni Suvini Zerboni #ESZ 01494800. Published by Edizioni Suvini Zerboni (BT.ESZ-01494800).

With his Venti pezzi per pianoforte (1938), the Hungarian composer Sándor Veress (1907-92) wanted to create a collection of piano miniatures on folk melodies destined for use in the concert hall as well as for teaching purposes. Each piece is based on one or more songs and dances from different Hungarian speaking areas, which are re-elaborated and presented in a carefully conceived alternation of character, musical writing and technical difficulty. The result is a multi-colored overview of Hungarian folk music: songs of a pathetic or even dramatic nature are contrasted with lighter and high-spirited pieces, interspersed with dances of varying types, among which a homogeneousblock stands out formed by the group of Csárdás, a typical tavern dance also used by Liszt. The Venti pezzi per pianoforte represent the culmination of the extensive ethnomusicological research made by Veress in the ’30s and ‘40s, while working as assistant to László Lajtha and to Béla Bartók, and at the same time carrying out field work in Hungary and neighboring countries. The composer intended that this collection should play a fundamental role of mediation between folklore and western “art” music, by revitalizing the language from within, without resorting to the abstractions of the experimentation being developed in Europe at the time. During his lifetime Veress never succeeded in publishing the complete version of the Venti pezzi per pianoforte, but issued various selections of the pieces, two of which remained totally unpublished. The present critical edition prepared by Giada Viviani reconstructs the complete text of the Venti pezzi per pianoforte on the basis of manuscript sources kept at the Paul Sacher Foundation in Basel: the musical scores, with fingering by Jakub Tchorzewski, are accompanied by an introductory essay on the context in which the collection was created, including a description of the state of the sources and a detailed apparatus criticus of the textual variants.

Con i suoi Venti pezzi per pianoforte (1938), il compositore ungherese Sándor Veress (1907-92) ha voluto creare una raccolta di miniature pianistiche su melodie popolari destinate sia a un uso concertistico, sia all’attivit didattica. In ogni branovengono rielaborati uno o più canti e danze provenienti da diverse aree geografiche di lingua ungherese, che si susseguono in base a una sapiente alternanza di carattere, scrittura musicale, difficolt esecutiva. Viene così offerta una variegatapanoramica della musica popolare di questa nazionalit : a canti di contenuto patetico o addirittura drammatico se ne affiancano di più leggeri e giocosi, avvicendandosi a danze di natura differente, tra cui spicca come un blocco omogeneo il gruppodelle Csárdás, tipica danza da locanda utilizzata anche da Liszt.I Venti pezzi per pianoforte rappresentano il coronamento della ricca attivit etnomusicologica condotta da Veress tra gli anni ’30 e ‘40, sia lavorando come assistente di László Lajtha e di Béla Bartók, sia svolgendo ricerca sul campo in Ungheria enei paesi limitrofi. Per il compositore, questa raccolta doveva svolgere un fondamentale ruolo di mediazione tra il folklore e la musica “colta” occidentale, in maniera da rivitalizzarne il linguaggio dall’interno, senza gli astrattismi dellesperimentazioni allora condotte in Europa.Nel corso della sua vita Veress non riuscì mai a pubblicare la versione integrale dei Venti pezzi per pianoforte, mentre ne fece uscire sul mercato alcune selezioni, lasciando del tutto inediti due brani. La presente edizione critica a cura di GiadaViviani ricostruisce il testo completo dei Venti pezzi per pianoforte in base alle fonti manoscritte conservate presso la Fondazione Paul Sacher di Basilea: gli spartiti musicali, corredati dalla diteggiatura di Jakub Tchorzewski, sono accompagnatida un saggio introduttivo sul contesto di creazione della raccolta, dalla descrizione dello stato delle fonti e da un dettagliato apparato critico delle varianti testuali.

SKU: GI.G-012290

Composed by Jennifer Kerr Breedlove Budziak. Sacred. GIA Publications #012290. Published by GIA Publications (GI.G-012290).

UPC: 641151172903.

El contenido de este lobro es una excelente introducción para aprender lo básico para leer música, diseñado para adultos con minima o nula habilidad de lectura de música que quieren aprender o mejorar esta habilidad en su trabajo parroquial en la pastoral de música. Cada una de las ocho lecciones tiene una duración adecuada, con varios ejercicios y ejemplos para ayudar a los estudiantes a usar sus habilidades. En el apéndice hay una hoja con el teclado para que el estudiante pueda visualizar el orden de las notas musicales. This book is an excellent introduction to the basics of reading and sight-singing music, designed for adult learners with minimal or no music-reading ability who want to acquire or improve their skills for parish music ministry. Each of the eight lessons is of manageable size, with plenty of exercises and examples to assist new music readers in using their skills. There's even a printed keyboard in the appendix that can be used by new sight-singers to review concepts independently, outside of rehearsal, with greater confidence.