Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson.
Set of Score and Parts.
44+32+2 pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743IN.
Published by Carl Fischer
Music (CF.CM9743IN).
ISBN 9781491162231.
UPC: 680160920990. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis.
This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem:Â This refers
to the infant Jesus. Two
for Paul and
Silas:Â This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.Â
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door:Â Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂ
stars in the
right hand of Ch
rist mentioned inÂ
the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun!
When Hearts Tremble Orchestre d'harmonie - Intermédiaire/avancé Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS75 Composed by Brant Karrick. SW...(+)
Band concert band - Grade
4.5
SKU: CF.SPS75
Composed by Brant
Karrick. SWS FS. Carl
Fischer Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
3+12+12+6+12+12+12+6+6+6+
6+6+6+9+9+9+6+6+9+9+9+9+6
+12+6+9+3+9+9+40 pages.
Duration 6 minutes, 44
seconds. Carl Fischer
Music #SPS75. Published
by Carl Fischer Music
(CF.SPS75).
ISBN
9781491147702. UPC:
680160905201. 9 x 12
inches. Key: F
major.
When Hearts
Tremble is an emotion
packed piece dedicated to
musician friends lost all
to soon. This beautiful
composition by Brant
Karrick reflects on the
fragility of human
existence, joyous
memories of loved ones
and their effect on
everyone around them, and
maintaining hope for what
the future will hold when
all feels lost. This tour
de force piece perfectly
displays Karrick's
polished compositional
craft with impeccable
scoring, beautiful
melodic writing, and
exceptional
orchestrational
color. While the
day-to-day grind of our
lives can be filled with
overwhelming obligations,
goals and commitments, it
is sometimes very easy to
forget just how precious
and fragile life is . It
is so easy to get caught
up in our own personal
feelings and worries that
we sometimes don’t
realize and appreciate
the many blessings we
have, especially
friendships . On
Wednesday, November 18,
2015 the Jefferson High
School Band in Jefferson,
Georgia lost two of its
members to a fatal car
accident . The victims
were brothers . Music was
a constant part of their
lives, and the boys were
talented percussionists
in the marching band . To
help with the grieving
process the school and
community commissioned
this piece to celebrate
the lives of William and
Alex Trimble .As a
father, I cannot imagine
losing a child, let alone
two, and beginning this
piece was very difficult
as I felt extreme
anguish, especially for
the parents . But it was
decided the piece should
primarily reflect the
enthusiasm, youthful
spirits and positive
influence these two young
men demonstrated as they
were deeply loved by
their band mates,
community and family .
There are four main
themes, each representing
the feelings and emotions
that are certain to occur
after a loss of loved
ones . The first theme is
a short, introductory
fanfare, strong and bold,
to stand for courage . A
second dance-like melody
features a liltingly
mixed meter to portray a
youthful and carefree
innocence . This soon
changes into a third more
song-like, and stately
theme intended to provide
encouragement as we move
forward through life .The
middle of the piece
includes a soft
transition as two snare
drummers give voice to
the boys, allowing them
to thank their friends
and assuring them that it
will be okay . This moves
directly into a slow
melody introduced by the
saxophones (Alex, the
younger brother was also
a saxophonist) and is a
time for reflection and
allows for feelings of
sadness at losing beloved
friends . However, a
second statement of the
same theme, now at full
volume with a strong
percussion cadence,
intends to lift the
spirits and allows all
friends to unite in
joyous celebration of
life . Both the
enthusiastic dance theme
and stately lyrical theme
return, now in different
keys, and work their way
toward the highly
energetic burst of
glorious sound in the
short and wild coda .
When Hearts Tremble was
written to celebrate the
joys of youth and life,
and should remind us that
our friends and loved
ones are precious, and we
should live each day to
bring more joy into the
world and into the lives
of others .
Mixed Voices a cappella SKU: BT.EMBZ6725 Extended and revised paperbac...(+)
Mixed Voices a cappella
SKU: BT.EMBZ6725
Extended and revised
paperback edition.
Composed by Zoltan
Kodaly. Hymns & Chorals.
Book Only. Composed 1972.
404 pages. Editio Musica
Budapest #EMBZ6725.
Published by Editio
Musica Budapest
(BT.EMBZ6725).
Concert Band/Harmonie - Grade 3 SKU: BT.1267-05-140-MS Arranged by Peter ...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1267-05-140-MS
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop & Rock.
Score Only. Composed
2005. 36 pages. Music
Sales #1267-05-140 MS.
Published by Music Sales
(BT.1267-05-140-MS).
9x12 inches.
English-German-French-Dut
ch.
Ray Charles
(1930-2004) was a
multitalented and
pioneering American
pianist and soul singer
who became very popular
in the late fifties, and
remained respected for
his music in the decades
that followed. By
incorporating gospel,
jazz, blues, and big band
elements, he helped shape
the sound of rhythm and
blues, and brought a
soulful sound to
everything from country
music to pop standards.
Ray Charles embodied the
American dream, starting
out a poor, blind boy
from the southern United
States and becoming an
international music
phenomenon; his nickname
was “the
Genius†for a good
reasonIn this arrangement
for concert band, Peter
Kleine Schaars presents
five of the songs
thatcontributed to Ray
Charles’ fame: I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her So,
and Unchain My Heart.
Ray Charles
(1930-2004) was een
vernieuwend Amerikaans
pianist en soulzanger die
populair werd in de jaren
vijftig en geliefd bleef
in de decennia die
volgden. Hij gaf mede
vorm aan de sound van de
rhythm & blues en hij gaf
een soulachtigeklank aan
alle muziek van country
tot aan popstandards -
waarin hij gospel, jazz,
blues en
bigband-elementen
verwerkte. Dit
arrangement bevat vijf
van de songs die
bijdroegen aan de roem
van Ray Charles: I
Can’t StopLoving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
So en Unchain My
Heart.
Ray
Charles, dem Hollywood
jüngst mit einer Oscar
preisgekrönten
Filmproduktion huldigte,
ist die Verkörperung
des amerikanischen
Traums: Vom armen,
blinden Jungen aus den
Südstaaten wurde er
zum internationalen
musikalischen
Phänomen; seinen
Spitznamen Genie trug er
völlig zu Recht. In
dieser Bearbeitung für
Blasorchester
präsentiert Peter
Kleine Schaars fünf
der Lieder, die zu Ray
Charles' Ruhm beitrugen.
Ray
Charles è un vero
mito: cinque decenni di
successi, una carriera
eccezionale ricca di
decine di successi che
hanno fatto il giro del
mondo diventando fonte di
ispirazione per intere
generazioni di giovani
artisti. Soprannominato
“The Geniusâ€,
questo pioniere del R&B e
della soul music, cieco
dall’et di sette
anni, ha composto alcune
delle canzoni memorabili
della musica nera
americana tra cui I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
so e Unchain My
Heart.
Concert Band/Harmonie - Grade 3 SKU: BT.1267-05-010-MS Arranged by Peter ...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1267-05-010-MS
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop & Rock.
Set (Score & Parts).
Composed 2005. Music
Sales #1267-05-010 MS.
Published by Music Sales
(BT.1267-05-010-MS).
9x12 inches.
English-German-French-Dut
ch.
Ray Charles
(1930-2004) was a
multitalented and
pioneering American
pianist and soul singer
who became very popular
in the late fifties, and
remained respected for
his music in the decades
that followed. By
incorporating gospel,
jazz, blues, and big band
elements, he helped shape
the sound of rhythm and
blues, and brought a
soulful sound to
everything from country
music to pop standards.
Ray Charles embodied the
American dream, starting
out a poor, blind boy
from the southern United
States and becoming an
international music
phenomenon; his nickname
was “the
Genius†for a good
reasonIn this arrangement
for concert band, Peter
Kleine Schaars presents
five of the songs
thatcontributed to Ray
Charles’ fame: I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her So,
and Unchain My Heart.
Ray Charles
(1930-2004) was een
vernieuwend Amerikaans
pianist en soulzanger die
populair werd in de jaren
vijftig en geliefd bleef
in de decennia die
volgden. Hij gaf mede
vorm aan de sound van de
rhythm & blues en hij gaf
een soulachtigeklank aan
alle muziek van country
tot aan popstandards -
waarin hij gospel, jazz,
blues en
bigband-elementen
verwerkte. Dit
arrangement bevat vijf
van de songs die
bijdroegen aan de roem
van Ray Charles: I
Can’t StopLoving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
So en Unchain My
Heart.
In den
fünfziger Jahren
erlangte der Pianist und
Soulsänger Ray Charles
große, bis heute
ungebrochene
Popularität. In dieser
Bearbeitung für
Blasorchester
präsentiert Peter
Kleine Schaars fünf
der Lieder, die
wesentlich zu Ray
Charles’ Ruhm
beitrugen und auch heute
noch ein hoch
ansteckendes Soul-Fieber
unter Musikern und
Zuhörern auslösen
können.
Ray
Charles è un vero
mito: cinque decenni di
successi, una carriera
eccezionale ricca di
decine di successi che
hanno fatto il giro del
mondo diventando fonte di
ispirazione per intere
generazioni di giovani
artisti. Soprannominato
“The Geniusâ€,
questo pioniere del R&B e
della soul music, cieco
dall’et di sette
anni, ha composto alcune
delle canzoni memorabili
della musica nera
americana tra cui I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
so e Unchain My
Heart.
Scottish Dances Orchestre d'harmonie - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000956-140 Composed by Pete...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000956-140
Composed by Peter Martin.
Arranged by Menno
Haantjes. Score Only.
Gobelin Music
Publications #GOB
000956-140. Published by
Gobelin Music
Publications
(BT.GOB-000956-140).
Scottish Dances
is based on three
Scottish traditionals:
Cock of the North, The
Bonnie Bank's O'Loch
Lomond and Marie's
Wedding.
I. Cock
of the North's name is
used for multiple things
or events. For example
for a locomotive to a
famous, it seems,
delicious liqueur, and
rallies to snowboard
competitions. Furthermore
is Cock O' the North a
nickname of a famous
Duke. (The 4th Duke of
Gordon). In this
composition Cock of the
North (a Jig) is a
traditional Scottish
bagpipe tune, regularly
played on tattoos by Pipe
Bands. Not infrequently
the drummers sing the
text.
Auntie
Mary, had a canary,
Up the leg of her
trousers While she
was sleeping Iwas
peeping Up the leg of
her trousers.
II.
The Bonnie Bank's O'Loch
Lomond is about a sad
story that took place
during an revolt against
the British. In 1745
Bonnie Prince Charlie had
to retreat. Two of his
men were captured. One
was convicted and
executed, while the other
was released. The spirit
of the executed soldier
would arrive in Scotland
via the 'low road'
(underworld) before his
companion, who had still
a long way to go.
You'll take the
high road And I'll
take the low road And
I'll be in Scotland afore
ye But me and my true
love will never meet
again On the Bonnie
Bonnie Banks of Loch
Lomond
III. In a
Scottish wedding, after
the official ceremonies,
there is often danced.
This is called a ceilidh.
For this we use
traditional Scottish
music such as Marie's
Wedding '. Mid dance
we go back to the church,
where a lovely song in
honor of the couple
sounds. Marie's
Wedding has been recorded
by Van Morrison (among
many others).
Step we gaely, on we go,
heel for heel and toe for
toe Arm and arm and
on we go, all for Marie's
wedding
Scottish
Dances is gebaseerd op
drie Schotse
traditionals: Cock of the
North, The Bonnie Bank's
O'Loch Lomond en Marie's
Wedding.
I. De
naam Cock of the North
wordt voor meerdere
dingen of evenementen
gebruikt. Van een
beroemdelocomotief tot
een, naar het schijnt,
een heerlijke likeur, en
van rally's tot snowboard
wedstrijden. Bovendien
was 'Cock O' the North'
een bijnaam van een
bekende hertog. (the 4th
Duke of Gordon) Het
in deze
compositiegebruikte Cock
of the North (een Jig) is
een traditioneel Schotse
bagpipe tune (doedelzak
liedje) wat regelmatig
gespeeld wordt op taptoes
door Pipebands. Niet
zelden zingen de
slagwerkers de tekst
mee.
Auntie Mary,
had acanary, Up the
leg of her trousers
While she was sleeping I
was peeping Up the
leg of her
trousers.
You'll
take the high road
And I'll take the low
road And I'll be in
Scotland aforeye But
me and my true love will
never meet again On
the Bonnie Bonnie Banks
of Loch Lomond
III. Bij een Schotse
bruiloft wordt na de
officiele plechtigheden
vaak gedanst. Dit noemt
men een ceilidh. Hiervoor
gebruiktmen traditionele
Schotse muziek zoals
bijv. 'Marie's
Wedding'. Halverwege
de dans gaan we nog even
terug naar de kerk, waar
een lieflijk lied ter ere
van het bruidspaar
klinkt. Marie's
Wedding is o.a. door Van
Morrison opgenomen.
For Vocal. Standards. Includes a high-quality printed vocal score annotated and...(+)
For Vocal. Standards.
Includes a high-quality
printed vocal score
annotated and a compact
disc with complete
versions (with soloist)
followed by
accompaniments to each
piece, minus the soloist.
Published by Music Minus
One.
Orchestra (Study Score) SKU: HL.51489059 Study Score. Composed by ...(+)
Orchestra (Study Score)
SKU: HL.51489059
Study Score.
Composed by Franz Joseph
Haydn. Edited by Andreas
Friesenhagen. Henle Study
Scores. Classical.
Softcover. 58 pages. G.
Henle #HN9059. Published
by G. Henle
(HL.51489059).
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Orchestra (Study Score) SKU: HL.51489060 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.51489060
Orchestra Study
Score. Composed by
Franz Joseph Haydn.
Edited by Andreas
Friesenhagen. Henle Study
Scores. Classical.
Softcover. 64 pages. G.
Henle #HN9060. Published
by G. Henle
(HL.51489060).
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081).
ISBN
9790200460032. 9.5 x 12
inches.
Duration:
full evening Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'.
Score Only Concert Band (Score) - Grade 3 SKU: HL.4005059 Arranged by Mic...(+)
Score Only Concert Band
(Score) - Grade 3
SKU:
HL.4005059
Arranged
by Michael Brown. Young
Concert Band. Children,
Movies. Softcover.
Published by Hal Leonard
(HL.4005059).
UPC:
888680676360.
9.0x12.0x0.086
inches.
The upbeat
animated film Sing
features an entertaining
story about a talent show
and plenty of great
music. Here is an
appealing medley for band
that includes a new song
(Faith) by Stevie Wonder
and Ariana Grande, along
with the classic pop hits
Hallelujah (Leonard
Cohen), I'm Still
Standing (Elton John) and
Stevie Wonder's Don't You
Worry 'Bout a Thing.
For Vocal. Standards. Includes a high-quality printed vocal score; and a compact...(+)
For Vocal. Standards.
Includes a high-quality
printed vocal score; and
a compact disc with
complete versions (with
soloist) followed by
accompaniments to each
piece, minus the soloist.
Published by Music Minus
One.
Concert Band/Harmonie - Grade 4 SKU: BT.1750-10-010-MS Arranged by Naohir...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.1750-10-010-MS
Arranged by Naohiro Iwai.
New Sounds for Concert
Band. Pop & Rock. Set
(Score & Parts). Composed
2010. Music Sales
#1750-10-010 MS.
Published by Music Sales
(BT.1750-10-010-MS).
9x12 inches.
English-German-French-Dut
ch.
Four
unforgettable disco songs
come together in one
stunning medley. Up fi
rst is the 1979 dance
floor hit I’m in
the Mood for Dancing by
The Nolans. Next the
medley quiets down with a
charming love song,
Lovin’ You, a song
Minnie Riperton dedicated
to her daughter. You
Can’t Hurry Love
was a huge success for
The Supremes in 1966 and
Phil Collins repeated
their success in 1983
making the song immortal.
This exciting medley ends
with Olivia
Newton-John’s
hit-song Xanadu, from her
1980 musical of the same
name.
Vier
Evergreens aus der
Disco-Ära in einem
Blasorchester-Medley: Den
Anfang macht
I’m in the Mood
for Dancing, mit dem
die Geschwister- Combo
The Nolans 1979 auf vier
Kontinenten die Menschen
auf die Tanzflächen
jagte. Danach folgt als
Ruhepunkt das bezaubernde
Liebeslied
Lovin’ You,
das Minnie Riperton 1975
ihrer kleinen Tochter
widmete. You
Can’t Hurry
Love war in der
Originalversion von 1966
für die Supremes
ein Riesenhit - Phil
Collins wiederholte
diesen Erfolg 1983 und
machte den Song
unsterblich. Den
Abschluss von Naohiro
Iwais mitreißendem
Medley bildet Olivia
Newton-Johns Hit
Xanadu aus dem
gleichnamigen Musical von
1980.
Questo medley
racchiude quattro
standard degli anni della
musica disco: I’m
in the Mood for Dancing
delle Nolan Sisters
anticipa le deliziose
note della ballata
Lovin’ You di
Minnie Ripperton. Nel
1966, The Supremes
conoscono la gloria con
la versione originale di
Can’t Hurry Love.
Nel 1983, Phil Collins
replica il successo dei
Supremes e rende la
canzone immortale. Per
concludere il suo medley,
Naohiro Iwai ha scelto
Xanadu (1980) la canzone
della commedia musicale
interpretata da Olivia
Newton John.
Concert Band/Harmonie - Grade 4 SKU: BT.1750-10-140-MS Arranged by Naohir...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.1750-10-140-MS
Arranged by Naohiro Iwai.
New Sounds for Concert
Band. Pop & Rock. Score
Only. Composed 2010. 44
pages. Music Sales
#1750-10-140 MS.
Published by Music Sales
(BT.1750-10-140-MS).
9x12 inches.
English-German-French-Dut
ch.
Four
unforgettable disco songs
come together in one
stunning medley. Up fi
rst is the 1979 dance
floor hit I’m in
the Mood for Dancing by
The Nolans. Next the
medley quiets down with a
charming love song,
Lovin’ You, a song
Minnie Riperton dedicated
to her daughter. You
Can’t Hurry Love
was a huge success for
The Supremes in 1966 and
Phil Collins repeated
their success in 1983
making the song immortal.
This exciting medley ends
with Olivia
Newton-John’s
hit-song Xanadu, from her
1980 musical of the same
name.
Vier
Evergreens aus der
Disco-Ära in einem
Blasorchester-Medley: Den
Anfang macht
I’m in the Mood
for Dancing, mit dem
die Geschwister- Combo
The Nolans 1979 auf vier
Kontinenten die Menschen
auf die Tanzflächen
jagte. Danach folgt als
Ruhepunkt das bezaubernde
Liebeslied
Lovin’ You,
das Minnie Riperton 1975
ihrer kleinen Tochter
widmete. You
Can’t Hurry
Love war in der
Originalversion von 1966
für die Supremes
ein Riesenhit - Phil
Collins wiederholte
diesen Erfolg 1983 und
machte den Song
unsterblich. Den
Abschluss von Naohiro
Iwais mitreißendem
Medley bildet Olivia
Newton-Johns Hit
Xanadu aus dem
gleichnamigen Musical von
1980.
Questo medley
racchiude quattro
standard degli anni della
musica disco: I’m
in the Mood for Dancing
delle Nolan Sisters
anticipa le deliziose
note della ballata
Lovin’ You di
Minnie Ripperton. Nel
1966, The Supremes
conoscono la gloria con
la versione originale di
Can’t Hurry Love.
Nel 1983, Phil Collins
replica il successo dei
Supremes e rende la
canzone immortale. Per
concludere il suo medley,
Naohiro Iwai ha scelto
Xanadu (1980) la canzone
della commedia musicale
interpretata da Olivia
Newton John.
For Piano. Includes a complete, high-quality printed music score with performan...(+)
For Piano. Includes a
complete, high-quality
printed music score with
performance suggestions;
and a compact disc
containing the complete
version of each piece
with soloist and
accompaniment; then a
second performance with
accompaniments minus you,
the soloist. Published by
Music Minus One.
Composed by Jay Althouse. Guidance, Comfort, Funeral, General Worship, Chris...(+)
Composed by Jay Althouse.
Guidance, Comfort,
Funeral, General
Worship, Christ's
Presence, Promise,
Assurance, Sacred,
Children, Devotion.
Performance/accompaniment
CD (vocal score and
piano). Published by Hope
Publishing Company
(HP.8710C).
Sonate
pour la Clarinette avec
accompagnement de 2
Violons, Alto and
Violoncelle.
Erstausgabe. Composed
by Giacomo Meyerbeer.
Edited by Dieter
Klöcker. This edition:
urtext edition. Stapled.
Barenreiter Urtext. First
edition. Score, Set of
parts. Duration 13
minutes. Baerenreiter
Verlag #BA08731.
Published by Baerenreiter
Verlag (BA.BA08731).
ISBN 9790006506194. 30
x 23 cm inches. Key:
E-flat major.
This
scholarly-critical volume
is the first published
edition of Meyerbeer's
Clarinet Quintet, which
vanished in World War ll
and only recently
resurfaced in the estate
of the clarinetist Carl
Bärmann. Meyerbeer
wrote the piece in Vienna
in 1813 for his friend
Heinrich Bärmann, a
celebrated clarinettist
to whom C. M. von Weber
also dedicated several
works. The extremely
novel and virtuoso
handling of the clarinet
was unusual for its day:
Meyerbeer allows it to
stand out clearly from
the string ensemble and
pushes it to the utmost
limits of its technique.
The Work enriched the
meager chamber music
repertoire for the
clarinet in the 19th
century. Our
scholarly-critical
edition makes this
masterpiece available to
performers for the first
time in print. Besides
the musical text, it
offers a critical report
and a detailed preface
discussing the work's
genesis. The parts have
been given performance
markings by Dieter
Klöcker.
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
For Clarinet in B-flat. Includes a complete, high-quality printed music score wi...(+)
For Clarinet in B-flat.
Includes a complete,
high-quality printed
music score with
performance suggestions;
and a compact disc
containing the complete
version of each piece
with soloist and
accompaniment; then a
second performance with
accompaniments minus you,
the soloist. Published by
Music Minus One.
Christmas, Here We Come! Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Alfred Publishing
Arranged by Sally K. Albrecht And John O'reilly. Arr. Sally K. Albrecht and John...(+)
Arranged by Sally K.
Albrecht And John
O'reilly. Arr. Sally K.
Albrecht and John
O'Reilly. For Concert
Band. Concert Band. Young
Symphonic. Level: 2
(Medium Easy) (grade 2).
Conductor Score and
Parts. Published by
Alfred Publishing.
(21 bekannte Spirituals und Gospelsongs fur Blechblaser (Posaunenchor) 2-5stimmi...(+)
(21 bekannte Spirituals
und Gospelsongs fur
Blechblaser
(Posaunenchor) 2-5stimmig
bearbeitet vom
Herausgeber). Edited by
Rolf Schweizer. For brass
instruments. Stapled.
Baerenreiter-Blasmusik.
Level 3. Performance
score, anthology.
Published by Baerenreiter
Verlag