Composed by Franz Liszt (1811-1886). Arranged by Tomer Yariv. Marimba and Vibrap...(+)
Composed by Franz Liszt
(1811-1886). Arranged by
Tomer Yariv. Marimba and
Vibraphone Duet. For
marimba and vibraphone
duet (marimba low c and
vibraphone). Level 5.
Score and set of parts.
Published by Innovative
Percussion
(Voice and Piano) SKU: HL.48186451 Composed by Reynaldo Hahn. Leduc. Post...(+)
(Voice and Piano)
SKU:
HL.48186451
Composed
by Reynaldo Hahn. Leduc.
Post-1900. Softcover. 39
pages. Alphonse Leduc
#AL30690. Published by
Alphonse Leduc
(HL.48186451).
UPC:
888680828332.
9.0x12.0x0.185
inches.
Exceptional
singer Reynaldo Hahn
(1875-1947) owes his
early successes to the
?songs for voice and
piano? genre, whose
raison d?etre he defines
in his journal as
follows: ?To highlight a
poem, word for word but
without uniformity; to
emphasize its meaning
without distorting it; to
shine light upon one
idea, obscure another and
present it all in vocal,
sung form; to produce a
sharp, precise sensation
by touching a heartstring
or evoking an image - all
in a well-structured and
tastefully written
piece?. Enhanced by an
audio version attached as
a download card, this
anthology of songs should
dispel a good many
misconceptions. This is
no salon miniature:
L?Heure exquise radiates
an infinite tenderness,
exalted by the high vocal
cadences of O Bien-Aimee!
and C?est l?heure
exquise, which surely
wrought tears from the
author of the verses,
Verlaine. Tyndaris, the
jewel of Heures latines,
clears a crystal-clear
space given over to the
delights of slumber and
of love. Like D?une
prison and Cygnes, these
songs do more than wet
the eyes: they grip the
heart..
Et in Terra Pax Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band - Grade 4 SKU: HL.44002765 Score and Parts. Composed ...(+)
Concert Band - Grade 4
SKU: HL.44002765
Score and Parts.
Composed by Jan Van der
Roost. De Haske Concert
Band. Concert. Set (Score
& Parts). Composed 1998.
De Haske Publications
#0981118-010. Published
by De Haske Publications
(HL.44002765).
UPC:
073999027655.
9.5x13.5x0.97
inches.
This piece
was commissioned by the
'Concert Band
Vlamertinge' and is a
plea for peace: the title
translates as 'Peace on
Earth'. This is expressed
by means of the vocal
contribution expected
from the performers. In
various places of the
piece you can recognize,
the words 'Et In Terra
Pax' - an appeal for
peace - at first jumbled
together but later more
rhythmically structured,
developing into
synchronized massed
voices.The work starts
with a pentatonic theme
based on the notes D, E,
G, A and C (taken from
'ConCErtbAnD VlAmErtinGE'
and the name of the
conductor, NiCk
VAnDEnDriessChe). A
somewhat sad melody is
developed during an
orchestral climax which
leads to the
firstexplosion of sound
(measure 62 onwards).
Suddenly the opening
measures are recaptured,
albeit with a differently
colored sound: the words
'Et In Terra Pax' bring
the first movement to a
close. A restless Allegro
follows which abruptly
stops and is replaced by
a calming cho-rale-like
passage. A narrator reads
aloud the poem 'Sonnet'
by the young poet Charles
Hamilton Sorley, who was
killed during World War
I. This poem fittingly
puts into words the
cruelty and senselessness
of war. After the
expanded recapitulation
of the allegro, the
broad, almost infinite
atmosphere of the
beginning returns.
Clarinet and English horn
play the pentatonic
opening theme once more,
this time broadly, while
the words 'Et In Terra...
Pax' are repeated again
and again by the rest of
the orchestra.The
composer has purposely
avoided all forms of
aggression and bombastic
sounds regularly used in
works about war. Fear of
violence and destruction
can be heard and felt
during the allegro
passages. The charged
opening makes way in the
end for hope: May
peacefulness replace
cruelty in everyday life,
too.
Dieses Werk
wurde im Auftrag der
Concert Band Vlamertinge
geschrieben und ist ein
Pladoyer an den Frieden:
Der Titel bedeutet dann
auch 'Frieden auf Erden'.
Dies kommt unter anderem
im vokalen Anteil der
Ausfuhrenden zum
Ausdruck. An
verschiedenenStellen des
Werkes erklingen, anfangs
durcheinander dann zu
einem rhythmischen und
strukturierten
Synchrongesang vereint,
die Worte 'Et In Terra
Pax' wie ein flehendes
Gebet fur den
Frieden.
Ein
pentatonisches Thema
formt den Anfang dieses
Werkes, basierend auf den
Noten D, E, G, A, und C,
die dem Namen:
'ConCErtbAnD VlAmErtingE'
und dem Namen des
Dirigenten NiCk
VAnDEnDriessChe
entstammen. Wahrend der
orchestralen Klimax, die
zu einemersten
Klangausbruch fuhrt (ab
Takt 62), entsteht eine
etwas traurige Melodie.
Plotzlich werden dann die
Eingangstakte
wiederaufgenommen, wenn
auch mit einer
veranderten Klangfarbe;
die Worte 'Et In Terra
Pax' runden den ersten
Teil daraufhin ab.
Esfolgt ein unruhiges
Allegro, das uberraschend
durch eine Choralartigen
Passage voller Ruhe
unterbrochen wird. Eine
Sprechstimme liest
wahrenddessen das Gedicht
Sonnet des jungen
Dichters Charles Hamilton
Sorley vor, der im ersten
Weltkriegfiel. Es findet
fur die Grausamkeit und
Sinnlosigkeit des Krieges
die passenden Worte.
Nachdem das Allegro,
diesmal mit einigen
Ausbreitungen, wiederholt
wird, kehrt die weite,
beinahe unendliche
Atmosphare des Beginns
wieder zuruck.
Klarinettenspielen
zusammen mit einem
Englischhorn das
pentatonische
Eingangsthema ein letztes
Mal in ausgebreiteter
Fassung, wobei das Et In
Terra Pax' durch den Rest
des Orchesters stets
wiederholt wird.Der
Komponist hat bewusst auf
jegliche Form der
Aggression oder
bombastischen Vertonung,
die in so vielen Werken
uber den Krieg zu finden
ist, vermieden. Dennoch
ist die Angst vor Gewalt
und Zerstorung vor allem
in den Allegro-Passagen
deutlich zuhoren und zu
fuhlen. Am Ende macht die
anfangliche Spannung
jedoch der Hoffnung
Platz: Moge die
Friedlichkeit auch im
taglichen Leben die
Grausamkeit
verbannen...
Texts by Robert Louis Stevenson, composed by Ralph Vaughan Williams (1872-1958)....(+)
Texts by Robert Louis
Stevenson, composed by
Ralph Vaughan Williams
(1872-1958). Collection
for high voice solo and
piano accompaniment. 40
pages. Published by
Boosey and Hawkes.
Complete Lieder Piano, Voix SATB, Orchestre Music Distribution Services
Voice and piano SKU: M7.DOHR-10261 Composed by Friedrich Nietzsche. Sheet...(+)
Voice and piano
SKU:
M7.DOHR-10261
Composed by Friedrich
Nietzsche. Sheet music.
MDS (Music Distribution
Services) #DOHR 10261.
Published by MDS (Music
Distribution Services)
(M7.DOHR-10261).
Infinite Horizons Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3122-75 Composed by Sheldon. Concert Band. Oversized,...(+)
Grade 3
SKU:
CL.012-3122-75
Composed by Sheldon.
Concert Band. Oversized,
spiral-bound score.
Composed 2001. Opus III
Wind Orchestra
Publications
#012-3122-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-3122-75).
Adagio for Brass Ensemble de cuivres - Intermédiaire De Haske Publications
Brass Band - Grade 3 SKU: BT.DHP-1064073-130 Composed by Jan Van der Roos...(+)
Brass Band - Grade 3
SKU:
BT.DHP-1064073-130
Composed by Jan Van der
Roost. Concert and
Contest Collection Brass
Band en Fanfare. Festive
and Solemn Music. Score
Only. Composed 2006. 12
pages. De Haske
Publications #DHP
1064073-130. Published by
De Haske Publications
(BT.DHP-1064073-130).
9x12 inches.
English-German-French-Dut
ch.
Adagio for
Brass is full of
beautiful lyrical
melodies and the warm
harmony and full
orchestration give the
audience and the band the
chance to give their
thoughts free reign in a
contemplative atmosphere.
A wonderfully uplifting
work suitable for
concerts on all occasions
and certainly not one to
be missed.
Das
ruhige und feierliche
Adagio zeichnet
sich durch melodische
Weite und Ausdruckskraft
aus. Lyrische Melodien,
eine warme Harmonik und
die volle Orchestrierung
bieten Publikum und
Musikern die Gelegenheit,
ihren Gedanken in einer
besinnlichen
Atmosphäre freien Lauf
zu lassen. Ein wunderbar
aufbauendes Werk, das
sich für viele
Anlässe eignet.
Choral (2-Part Mixed) SKU: HL.1428077 Arranged by Roger Emerson. Pop Chor...(+)
Choral (2-Part Mixed)
SKU: HL.1428077
Arranged by Roger
Emerson. Pop Choral
Series. Rock. Octavo.
Published by Hal Leonard
(HL.1428077).
UPC:
196288202158. 6.75x10.5
inches.
Alternative
rock band The Mowgli's
have reached a level of
cultural appreciation
that far exceeds their
indie roots. Their
infinitely singable
choruses, often featuring
many layers of voices,
practically beg audiences
to sing along. Give this
one a go and see!
Clarinet SKU: SU.80110804 For Clarinet. Composed by Meyer Kupferma...(+)
Clarinet
SKU:
SU.80110804
For
Clarinet. Composed by
Meyer Kupferman.
Woodwinds, Clarinet.
Score. Subito Music
Corporation #80110804.
Published by Subito Music
Corporation
(SU.80110804).
Fourteen
Canonic Inventions for
Young Composers (1966) is
a set of short keyboard
pieces along with
pedagogical text,
demonstrating all manners
of tonal canonic
technique. It makes an
excellent pedagogical
resources for composers
or those teaching
traditional harmonic
practice. Published by:
Soundspells
Productions.
For
Band. Composed by Dan
Welcher. Folder.
Premiered by the
University of Texas
Symphony Band, Scott S.
Hanna, conductor, at
Butler School of Music,
UT/Austin, Austin, Texas.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 14-Sep. 40
pages. Duration 7
minutes. Theodore Presser
Company #165-00097.
Published by Theodore
Presser Company
(PR.165000970).
ISBN
9781491100462. UPC:
680160626717. 9x12
inches.
Commissione
d by a consortium of 20
high school and
university bands
coordinated by Scott
Hanna of the University
of Texas at Austin,
Downshifting is inspired
by Welcher’s joy
of bicycle riding.
Welcher explains in the
program note: When I
decided to write a piece
for band that was
basically entertaining
and uplifting, it made
perfect sense to call it
Downshifting... With
three gears on the front
sprocket and seven on the
rear, it’s
possible to keep
one’s legs going
at a constant speed (for
me, q = 126) while the
bike itself may be moving
very slowly or very
quickly. I determined to
capitalize on this in
writing Downshifting,
which keeps the same
mathematical inner pulse,
‘shifting’
(with a ratchet) as the
terrain changes.. One
of the joys of life for
me is riding my 21-speed
bicycle. As a
basically non-athletic
person who nonetheless
likes to stay in shape, I
have found that riding my
bike provides just the
exercise I need. The
workout is strenuous, but
pleasant—and the
infinite variety of
scenery I pass keeps me
alert and wide awake.Â
When I decided to write a
piece for band that was
basically entertaining
and uplifting, it made
perfect sense to call it
Downshifting.With three
gears on the front
sprocket and seven on the
rear, it’s
possible to keep ones
legs going at a constant
speed (for me,
that’s 126 to the
quarter note) while the
bike itself may be moving
very slowly or very
quickly. I determined
to capitalize on this in
writing the music, which
manages to keep the same
mathematical inner pulse,
“shiftingâ€
(with a ratchet) as the
terrain changes. So
Downshifting begins with
that steady pulse, on a
grid of eighth notes in
2/4 to propel the little
vehicle forward.Â
There’s a joyous
little tune in our heads
as we begin our ride.Â
As the initial thrill of
riding on the flat gives
way to monotony, we stay
in that pulse for the
first minute or so of the
ride. Then, as the
first hill becomes
visible, we shift the
bike down: even though
the eighths are equal,
the pulse feels slower
(and we’re now in
6/8 time). Ultimately
the compound meter shifts
again as the climb
begins, and we’re
now plodding doggedly up
the hill. (The music
reflects all of these
changes, with subtitles
such as “Working
harder—Seeing the
climb, aheadâ€,
“Steady and
committed…the climb
begins!â€,
“Straining against
the gradeâ€,
etc.).There are two
hills, and two long
climbs (but in different
keys, reflecting the
change in scenery).Â
When at last the summit
of the second hill is
reached (“Flying,
Over the Topâ€), we
coast at last down the
other side at breakneck
speed. The initial
joyous melody returns,
but now in a spread-out
coasting pulse. At
the end of the ride, we
slow to a
stop—then take one
last sprint (shifting
five times in the
process) in order to end
on a biker’s
high.Downshifting was
commissioned by a
consortium of fourteen
high school and college
bands, overseen by my
longtime colleague at the
University of Texas,
Scott Hanna. The
piece is dedicated to him
(and to all bicycle
enthusiasts).