Designed
to provide a path of
quiet reflection for the
beginning of Lent, this
fresh anthem is replete
with moments of deep
beauty. The bittersweet
song is designed to work
with groups of any size.
Set in minor, the melody,
mood and message of the
octavo set the stage for
the lessons of Lent. The
inclusion of “Kyrie
eleison†helps
worship planners
integrate the anthem
organically into the flow
of any contemplative
service. Deeply
moving!
SKU: GI.G-CD-405 Composed by Richard Proulx. Sacred. CD. GIA Publications...(+)
SKU: GI.G-CD-405
Composed by Richard
Proulx. Sacred. CD. GIA
Publications #405.
Published by GIA
Publications
(GI.G-CD-405).
Most of us
involved with church
music know Richard Proulx
as one of the true
leaders in our field, the
composer of more than 300
works for organ, chorus,
solo voice,
orchestra...even two
operas. This recording
was created to help
Richard through a
difficult time.The
story... In September of
1996, Richard Proulx
experienced major heart
problems that required
quadruple bypass surgery.
Complications following
surgery resulted in a
grueling four-month-long
stay in the hospital.
Thankfully, Richard was
slowly getting back to
work, looking relaxed and
healthier, facing the
future confidently but
with some concerns.
Richard faced a
considerable hospital and
medical bill--about
$350,000--because he had
been uninsured since
leaving Holy Name
Cathedral and did not yet
qualify for Medicare.
This is the part of the
story where his friends
come in. A few fellow
musicians organized the
New Life Foundation:
Friends of Richard Proulx
to raise the funds
necessary to
significantly reduce or
eliminate Richard's debt.
This recording was part
of that effort.The
Recording... Recorded
with the help of The
Cathedral Singers and
other friends who
voluntarily gave of their
time and incredible
talent, all proceeds GIA
collects will directly
benefit the New Life
Foundation.Spirit of God
Unleashed is a
magnificent recording
featuring a cross-section
of Richard's work over
the past several decades.
Included is a set of
extensive liner notes in
which Richard discusses
the origins of every
song.This is a major
retrospective recording,
featuring music from a
variety of publishers,
created for a very good
cause.
Concert Band - Grade 1 SKU: AP.50932 Composed by Michael Kamuf. Concert B...(+)
Concert Band - Grade 1
SKU: AP.50932
Composed by Michael
Kamuf. Concert Band;
Performance Music
Ensemble; Single Titles.
Belwin Concert Band -
PerformancePlus+. Score
and Part(s). Duration
1:45. Belwin Music
#00-50932. Published by
Belwin Music (AP.50932).
ISBN 9781470668860.
UPC: 038081587745.
English.
Unleashed
is a powerful new work by
Michael Kamuf featuring
bold melodies and driving
rhythms. The first five
notes of the D Phrygian
mode are employed
throughout the piece,
creating an opportunity
to introduce modes to
your beginning band. It
is sure to be a favorite
of your students and
audience! (1:45)
The
PerformancePlus+ series
is an innovative addition
to the ever-expanding
MakeMusic Cloud
interactive library.
These engaging selections
are presented with
educational resources
designed to enrich the
rehearsal process and
create outstanding
performances.
Including:
Assignm
ent, recording, and
assessment tools within
MakeMusic
Cloud
Piece-speci
fic exercises focused on
skills and
techniques
Printa
ble sheet music (with a
standard MakeMusic Cloud
subscription)
Edu
cational tips and
suggestions to support
learning
Featuring "Forth Eorlingas," "Evenstar," "Rohan," "The March of the Ents," "Isen...(+)
Featuring "Forth
Eorlingas," "Evenstar,"
"Rohan," "The March of
the Ents," "Isengard
Unleashed," and more!. By
Howard Shore. Arranged by
Jerry Brubaker. Music by
Howard Shore / arr. Jerry
Brubaker. For Concert
Band. Concert Band. Pop
Symphonic Band. Movie.
Level: 4 (Medium) (grade
4). Conductor Score.
Published by Alfred
Publishing.
Concert Band Concert Band - Grade 3.5; Grade 4 SKU: FJ.B1775 Composed by ...(+)
Concert Band Concert Band
- Grade 3.5; Grade 4
SKU: FJ.B1775
Composed by Jack Wilds.
Concert Band; MakeMusic
Cloud. FJH Concert Band.
Multicultural. Score and
Part(s). Duration 5:15.
The FJH Music Company Inc
#98-B1775. Published by
The FJH Music Company Inc
(FJ.B1775).
UPC:
241444401880.
English.
The legend
and history of Ireland
come alive in this work
that captures the sense
of ancient mystery and
latent wildness that
characterizes the Rock of
Cashel. A beautifully
crafted lyrical section
and fiery jig combine to
create a powerful piece
that will energize the
entire concert hall!
About FJH
Concert
Band
Desig
ned for high school
groups and upper-level
middle school groups.
Independence is
encouraged, but many
lines are cross-cued.
Usually includes an
expanded percussion
section. Grades 3 -
3.5
Concert Band/Harmonie,
Children's Choir and
Cello - Grade 4
SKU:
BT.DHP-1115053-140
...dann wachsen
Flügel deinen
Worten. Composed by
Marco Putz. De Haske
Manuscript. Concert
Piece. Score Only.
Composed 2011. 51 pages.
De Haske Publications
#DHP 1115053-140.
Published by De Haske
Publications
(BT.DHP-1115053-140).
A3 (420X297)
inches.
...Then
Thy Words Will Take
Wing... is a four
movement composition
based upon drawings made
by Russian painter
Zinovii Tolkatchev
(1903-1970), who served
as official artist during
the liberation of
concentration camps in
Auschwitz. After the war,
Tolkatchev’s works
were published and now
tour the world as a
travelling exhibition.
This composition is a
tribute to the victims of
the Holocaust who still
remain nameless, and is a
powerful piece to include
in any concert
programme.
“
…dan zullen uw
woorden vleugels
krijgen...†is een
vierdelige compositie
gebaseerd op vier
tekeningen van de
Wit-Russische schilder
Zinovii Tolkatchev
(1903-1970). Tijdens de
bevrijding van de
concentratiekampen
Auschwitz en Majdanekwas
Tolkatchev bij het Rode
Leger in dienst als
tekenaar. Na de oorlog
verschenen de tekening
van Tolkatchevs in
albumvorm en momenteel
reizen ze de wereld over,
te bekijken bij
tentoonstellingen. De
compositie is een
eerbetoonaan alle
naamloze slachtoffers van
de Holocaust en grijpt
daarbij ook terug op de
hoofdgedachte van de Yad
Vashems, het gedenkbeeld
van de Holocaust in
Jeruzalem.
Für
Blasorchester,
Violoncello und
Kinderchor...dann wachsen
Flügel Deinen
Worten...“ ist eine
viersätzige
Komposition nach
Zeichnungen des
weißrussischen Malers
Zinovii Tolkatchev
(1903-1970), der bei der
Befreiung der
Konzentrationslager
Auschwitz und Majdanek in
der Roten Armee als
Zeichner diente. Nach dem
Krieg wurden seine Bilder
veröffentlicht und
wandern jetzt in einer
Ausstellung um die Welt.
Diese Komposition will an
die vielen namenlos
gebliebenen Opfern des
Holocaust erinnern und
damit einen der
Leitgedanken Yad Vashems,
der
Holocaust-Gedenkstätte
in Jerusalem,
vermitteln.
Un
brano in quattro
movimenti che si ispirano
a quattro dipinti del
pittore bielorusso
Zinovii Tolkachev
(1903-1970) che servì
nell’Armata Rossa
come illustratore durante
la liberazione dei campi
di concentramento di
Auschwitz e Majdanek. Il
suo compito era
realizzare schizzi delle
atrocit commesse. In
seguito, i figli di
Tolkachev decisero di
donare la serie di
disegni al Memorial Yad
Vashem di Gerusalemme,
disegni ora oggetto di
una mostra
itinerante.
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.