Composed by Lynne Latham.
Performance Music
Ensemble. Latham Music.
Score. Latham Music
Enterprises #36-52703177.
Published by Latham Music
Enterprises
(AP.36-52703177).
ISBN
9781621569367.
English.
Some of
the best loved operatic
tunes are featured in
this collection arranged
by Lynne Latham. Ideal
for the advanced quartet,
players will find
performances of these
Opera Favorites
fulfilling and enjoyable.
Included: 1. O mio
babbino caro from Gianni
Schicchi (Puccini), 2.
The Flower Song from
Lakme (Delibes), 3. Der
Vogelfänger from
The Magic Flute (Mozart),
4. Bei Männern
from The Magic Flute
(Mozart), 5. Barcarolle
from Tales of Hoffman
(Offenbach), 6. Habanera
from Carmen (Bizet), 7.
The Toreador's Song from
Carmen (Bizet), 8.
Meditation from
Thaïs
(Massenet).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
By Ludwig van Beethoven. Edited by Forbes. For viola, piano. Based on the DuetBe...(+)
By Ludwig van Beethoven.
Edited by Forbes. For
viola, piano. Based on
the DuetBei
Maennern,welche Liebe
fuehlenfrom the Magic
Flute. Published by C.F.
Peters.
Tenor & String Quartet SKU: PE.EP72822 Composed by Jonathan Dove. Voice(s...(+)
Tenor & String Quartet
SKU: PE.EP72822
Composed by Jonathan
Dove. Voice(s) & Various
Instruments. Edition
Peters. Living Composer.
Score and Part(s). 164
pages. Duration 00:30:00.
Edition Peters
#98-EP72822. Published by
Edition Peters
(PE.EP72822).
ISBN
9790577011769. 232 x
303mm inches.
English.
I have
only visited Damascus
once, twenty years ago,
on the way to
Palmyra. I had a
purpose (I was writing
music for a play about
Palmyra’s Queen
Zenobia) but essentially
I was a tourist.
Like any visitor, I was
thrilled to step out of
the noisy modern city
into the magical ancient
world of the walled Old
City, its vibrant souk
leading to the
magnificent mosque, and a
labyrinth of winding,
narrow streets filled
with the smell of
unleavened
bread.
In Palmyra,
I was met with
extraordinary kindness
everywhere. On one
occasion, a little
Bedouin boy noticed that
I was risking sunstroke
wandering bare-headed
among the spectacular
ruins: he showed me how
to tie a turban, then
took me to have tea with
his family in their
tent.
Since then, I
have watched helplessly
as these places of wonder
have been devastated and
their inhabitants
scattered and
killed. When the
Sacconi Quartet suggested
that I might choose a
Syrian poet for our
collaboration, I welcomed
the idea.
I
searched for a long time
to find a contemporary
poet whose work might
gain from any music I
could imagine. I
felt it was important to
find first-hand accounts
of the Syrian experience
– but, of course, I
was always reading them
in translation. In
an anthology
called Syria
Speaks, I was
astonished to read
something that looked
like prose, but was full
of poetry. It was
Anne-Marie
McManus’s fine
translation of Ali
Safar’s A
Black Cloud in a Leaden
White Sky
– an
eloquent, thoughtful,
contained yet vivid
account of life in a
war-torn country, all the
more moving for its
restraint.
In
setting these words, I
have not attempted to
imitate Syrian
music. However,
there is what might be
called a linguistic
accommodation in my
choice of scale, or
mode. Several
movements are in a mode
that I first discovered
while writing a cantata
commemorating the First
World War: it has a
tuning that I associate
with war, its violence
and desolation.
This eight-note
mode is similar to scales
found in Syrian
music. I did not
choose it in the
abstract: it emerged from
the harmonies I was
exploring in the earlier
work, and emerged again
as I was looking for the
right musical colours to
set Ali Safar’s
words. In this
work, its Arabic aspect
is more prominent. -
Jonathan
Dove
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all
SKU:
PR.816600040
Composed
by Wolfgang Amadeus
Mozart. CD Sheet Music
(Version 1). Full Scores
to all of the major works
for orchestra by Mozart -
parts not included.
Classical Period. CD
Sheet Music. 2000
printable pages.
Published by Theodore
Presser Company
(PR.816600040).
UPC:
680160600045. 5.5x5
inches.
This disk
contains study scores of
all 41 of Mozart's
Symphonies, as well as
Concertos for Winds and
Strings (Piano Concertos
are on a companion
CD-ROM), Serenades, Opera
Overtures, Divertimentos,
and other works.
About CD Sheet
Music (Version
1)
CD
Sheet Music (Version 1)
was the initial CD Sheet
Music series distributed
by Theodore Presser. The
CDs include thousands of
pages of music that are
viewable and printable on
Mac or PC. Version 1
titles are a great value
at 40% off, as we make
room in our warehouse for
the newly enhanced CD
Sheet Music (Version 2.0)
series.
Score and Parts String Quartet (Score and Parts) - Grade 2 SKU: HL.4493037(+)
Score and Parts String
Quartet (Score and Parts)
- Grade 2
SKU:
HL.4493037
Composed
by John Powell. Arranged
by Robert Longfield. Pops
For String Quartet.
Movies. Softcover.
Duration 100 seconds.
Published by Hal Leonard
(HL.4493037).
UPC:
196288155898.
9.0x12.0x0.049
inches.
Embark on a
thrilling musical journey
with this accessible
string quartet
arrangement by Robert
Longfield. This
captivating medley of
themes will bring the
magic of dragons to life!
With captivating rhythms
and mesmerizing melodies,
your young string players
will soar to new heights!
Let the power of dragons
captivate your ensemble
and create an
unforgettable
performance!
String Quartet (2vl,va,vc) SKU: BR.EB-9243 Full Score. Composed by...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9243
Full
Score. Composed by
Christian Mason. Chamber
music; stapled. Edition
Breitkopf. World premiere
of the original version:
London, May 10, 2016World
premiere of the string
orchestra version:
Clermont-Ferrand, October
8, 2020. New music
(post-2000). Full score.
Composed 2016/2020. 40
pages. Duration 19'.
Breitkopf and Haertel #EB
9243. Published by
Breitkopf and Haertel
(BR.EB-9243).
ISBN
9790004185438. 9 x 12
inches.
It was the
practice of Khoomii
(throat singing) -
following several
workshops with Michael
Ormiston - that first
attracted me to Tuvan
music. Composing this
Songbook, the first in a
series commissioned by
the Ligeti Quartet, I
took the chance to
reflect on compositional
questions around
transcription and
arrangement of existing
music, and frequently
found myself asking:
where is the boundary
between the source
material and the new
substance? Of course the
relationship varies from
piece to piece, and
moment to moment:
sometimes we seem to
glimpse the pure source,
but most of the time
there are differing
degrees of distance,
working towards or away
from it. This new version
for string orchestra
corresponds closely to
the original quartet
version, with an
additional part for
double basses.The
traditional Tuvan songs
that I have transcribed
and recomposed are all
known to me from the Ay
Kherel CD The Music of
Tuva: Throat Singing and
Instruments from Central
Asia (2004, Arc Music).
According to the notes
from that CD, this is
what the songs are
about:1. Dyngylday: If
you have come on a horse
in blue, it doesn't mean
that you are the best. My
heart tells me something
else: my sweetheart
doesn't have such a
beautiful horse, but he
is my darling.An
alternative
interpretation from Alash
Ensemble
(alashensemble.com): The
word dyngylday is a
nonsense term with no
translation. The song
makes good-humored fun of
somebody for being a
good-for-nothing.2. Eki
Attar (The Best Steeds):
The horse is the basis of
our life. It is a magic
creature. Even its step
is full of music and
rhythm. You may not be a
horse rider, but when you
hear this song you will
always remember horses.3.
Kuda Yry: This wedding
song glorifies the
strength of the groom and
the beauty of his
Horse.4. Ezir-Kara
('Black Eagle'): This was
the name of a horse, who
became a legend through
his remarkable strength
and speed.It is not just
overtones that abound
here: there are galloping
rhythms aplenty, and
though I am no horse
rider I tried to keep the
horses galloping in my
imagination while
composing these
pieces.Christian Mason
(with quotes from Ay
Kherel and Alash
Ensemble)
World
premiere of the original
version: London/UK, May
10, 2016, World premiere
of the string orchestra
version:
Clermont-Ferrand/France,
October 8, 2020.
String Quartet (2vl,va,vc) SKU: BR.EB-9244 Set of Parts. Composed ...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9244
Set of
Parts. Composed by
Christian Mason. Chamber
music; stapled. Edition
Breitkopf. World premiere
of the original version:
London, May 10, 2016World
premiere of the string
orchestra version:
Clermont-Ferrand, October
8, 2020. New music
(post-2000). Set of
parts. Composed
2016/2020. 92 pages.
Duration 19'. Breitkopf
and Haertel #EB 9244.
Published by Breitkopf
and Haertel (BR.EB-9244).
ISBN 9790004185445. 9
x 12 inches.
It was
the practice of Khoomii
(throat singing) -
following several
workshops with Michael
Ormiston - that first
attracted me to Tuvan
music. Composing this
Songbook, the first in a
series commissioned by
the Ligeti Quartet, I
took the chance to
reflect on compositional
questions around
transcription and
arrangement of existing
music, and frequently
found myself asking:
where is the boundary
between the source
material and the new
substance? Of course the
relationship varies from
piece to piece, and
moment to moment:
sometimes we seem to
glimpse the pure source,
but most of the time
there are differing
degrees of distance,
working towards or away
from it. This new version
for string orchestra
corresponds closely to
the original quartet
version, with an
additional part for
double basses.The
traditional Tuvan songs
that I have transcribed
and recomposed are all
known to me from the Ay
Kherel CD The Music of
Tuva: Throat Singing and
Instruments from Central
Asia (2004, Arc Music).
According to the notes
from that CD, this is
what the songs are
about:1. Dyngylday: If
you have come on a horse
in blue, it doesn't mean
that you are the best. My
heart tells me something
else: my sweetheart
doesn't have such a
beautiful horse, but he
is my darling.An
alternative
interpretation from Alash
Ensemble
(alashensemble.com): The
word dyngylday is a
nonsense term with no
translation. The song
makes good-humored fun of
somebody for being a
good-for-nothing.2. Eki
Attar (The Best Steeds):
The horse is the basis of
our life. It is a magic
creature. Even its step
is full of music and
rhythm. You may not be a
horse rider, but when you
hear this song you will
always remember horses.3.
Kuda Yry: This wedding
song glorifies the
strength of the groom and
the beauty of his
Horse.4. Ezir-Kara
('Black Eagle'): This was
the name of a horse, who
became a legend through
his remarkable strength
and speed.It is not just
overtones that abound
here: there are galloping
rhythms aplenty, and
though I am no horse
rider I tried to keep the
horses galloping in my
imagination while
composing these
pieces.Christian Mason
(with quotes from Ay
Kherel and Alash
Ensemble)
World
premiere of the original
version: London/UK, May
10, 2016, World premiere
of the string orchestra
version:
Clermont-Ferrand/France,
October 8, 2020.
Composed by Rhian Samuel.
Chamber music. For High
Voice, String Quartet and
Piano. Score (2 copies
supplied) and parts.
Score and parts. Stainer
& Bell Ltd. #Y296.
Published by Stainer &
Bell Ltd. (ST.Y296).
ISBN
9790220223525.
Natu
re and landscape have
been the dominant themes
of much of Rhian Samuel's
vocal music of the last
ten years, projected
chiefly through the
poetry of Anne Stevenson,
and in her most recent
song-settings, the
writings of the
Pakistan-born Texas-based
poet Zulfikar Ghose. His
poem 'Conspiracy of the
Clouds' describes how,
the clouds having chosen
to become invisible,
'Even the astronauts on
the space shuttle /
looked down on a
cloudless America' as
hurricanes ravage
Louisiana and storms
engulf Nebraska. An
intriguing conceit in the
tradition of magic
realism, the text is
presented as a scena
lasting around 16
minutes, with
interpolations from
'Haze' by the
nineteenth-century New
England transcendentalist
Henry David Thoreau. Thus
modern fable and romantic
nature-description are
juxtaposed, and their
interaction becomes the
source of musical
contrasts too. Thoreau's
words are assigned
predominantly to the
vocalist's highest
register, those of Ghose
to her lower tessitura;
and the suggestive and
dramatic accompaniment
builds tension steadily
to the final ironic
response of an
incredulous American
public: not one of awe
and wonder, but the
question 'Why weren't we
told about it?
Composed
by George Rochberg. Large
Score. With Standard
notation. Theodore
Presser Company
#416-41084L. Published by
Theodore Presser Company
(PR.41641084L).
Overture
(Rosamunde). Composed
by Franz Schubert.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). For
an alternative Rosamunden
Overture please see
Schubert, Alfonso and
Estrella D 732 .
Overture; Romantic. Part.
4 pages. Duration 10'.
Breitkopf and Haertel #OB
4889-19. Published by
Breitkopf and Haertel
(BR.OB-4889-19).
Chamber Music Piano, Trombone, Voice SKU: PR.111402650 A Song Cycle fo...(+)
Chamber Music Piano,
Trombone, Voice
SKU:
PR.111402650
A
Song Cycle for Baritone
(or Mezzo-soprano),
Trombone, and Piano.
Composed by Eric Ewazen.
Set of Score and Parts.
With Standard notation.
52+16 pages. Duration 24
minutes. Theodore Presser
Company #111-40265.
Published by Theodore
Presser Company
(PR.111402650).
Angel of
Dreamers is a song cycle
for bass-baritone (or
mezzo-soprano) singer,
trombone, and either
string orchestra, string
quintet, or piano. It is
based on the
extraordinary poetry of
the Jamaican-American
poet, Lorna Goodison,
whom I have had the great
pleasure of getting to
know in the course of
writing this piece. The
work was commissioned by
a friend from my
undergraduate college
years at The Eastman
School of Music, Maury
Okun, trombonist and
director of the Detroit
Chamber Winds And
Strings. The work was
premiered in 2011 by
bass-baritone Daniel
Washington, trombonist
and U. of Michigan
faculty member David
Jackson, and the string
section of the Detroit
Chamber Winds and
Strings. Daniel and David
gave the second
performance of the work
with Lorna Goodison and
Maury Okun in attendance
at The Juilliard School
the following year. I was
approached by Maury Okun
and David Jackson to
write this piece as a
tribute to Maury's father
who had recently passed
away. They also
introduced me to their
colleague and friend
Lorna Goodison,
suggesting her poetry.
Reading several volumes
of her work, I was
absolutely captivated by
the vivid imagery and
beautiful messages of her
words. I chose five of
the poems, forming a
cycle about life and
death and home and
parents. Lorna is
originally from Jamaica,
and the rich, vivid
imagery, language and
story lines of her poems
beautifully reflect her
roots. The work, in the
tradition of Brahms'
songs for voice, viola,
and piano, features a
singer with an obligato
lyric instrumental line,
which, in my piece, is
the trombone, an
instrument that blends so
beautifully with the
sound of a bass singer.
The first song, O Love
You So Fear the Dark is
hopeful and uplifting,
describing enduring love
throughout the twists and
turns of our lives. The
music is strong and
declamatory, but also
tender. The second song,
God A Me actually
portrays a fish in
Jamaica which is almost
amphibious, flying up out
of the water onto the
land, and somehow,
magically, returning to
the water! For me this
poem depicts the
enjoyment of seeing parts
of life that are fun and
enjoyable and almost
magical! The third song,
All Souls Day depicts a
holiday, somewhat
magical, but also full of
life and energy. The
final two songs are a
tribute to our parents --
My Mother's Sea Chanty,
recalling a dream of
seeing one's mother, with
lyrics of tender love and
remembrance, and finally,
This is my Father's
Country which is a
tribute to the life of a
loving father, recalling
his spirit, his love of
the music Harry
Belafonte, and his
enduring spirit. Angel of
Dreamers was a special
piece for me to write:
for and with friends, old
and new, collaborating
with a poet whose
beautiful, meaningful,
and touching words were
so inspiring, performed
by fantastic musicians
who poured themselves
into the music, and
commissioned by a dear
friend from years gone
by. THIS is why we write
and perform music!.
A Greensleeves
Fantasy. Composed by
Traditional. Arranged by
Nicolás Humberto
Repetto. Set of Score and
Parts. Duration 2
minutes, 24 seconds. Carl
Fischer Music #YAS220.
Published by Carl Fischer
Music (CF.YAS220).
ISBN 9781491162682.
UPC: 680160921430. Key: E
minor.
Heart of
Gold (A Greensleeves
Fantasy) is a fresh take
on a traditional
favorite, drawing its
name from the lyrics of
the original secular
song, “Greensleeves
was my delight,
Greensleeves was my heart
of gold.†The piece
starts with an
introduction that flows
into the familiar
poignant melody, using
beautiful and unexpected
harmonies for a
contemporary sound. The
Second Violins and Viola
have an opportunity to
shine as well as they
take over the theme with
a wonderful swelling
crescendo leading to the
heart of the piece. A
Solo Violin and Solo
Cello restate the melody
against the pizzicato
accompaniment motif
established in the
beginning. The Optional
Piano part adds magic and
enhances the
orchestration
throughout.Performance
Notes: Start the
introduction very
quietly. Exaggerate the
dynamics throughout. Make
the pizzicato nice and
full while staying under
the melody in the first
violins. At measure 13,
this countermelody in the
first violins should be
felt and not obscure the
Greensleeves melody
played by the second
violins and violas, so
make sure to balance it
accordingly. At measure
20, exaggerate the
crescendo and once forte
is reached, maintain that
intensity all the way to
the decrescendo at
measure 36. The solo
violin line should be
played with lots of
expression and soar above
the pizzicato figures.
Pizzicato figures should
be light and full, played
closer to the
fingerboard. At measure
45, the cello solo should
be strong and connected
singing high above the
rest of the sections.
Make sure the arco
strings in this section
do not overpower the
cello line.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
A Greensleeves
Fantasy. Composed by
Traditional. Arranged by
Nicolás Humberto
Repetto. Full score. 8
pages. Duration 2
minutes, 24 seconds. Carl
Fischer Music #YAS220F.
Published by Carl Fischer
Music (CF.YAS220F).
ISBN 9781491163023.
UPC: 680160921775. Key: E
minor.
Heart of
Gold (A Greensleeves
Fantasy) is a fresh take
on a traditional
favorite, drawing its
name from the lyrics of
the original secular
song, “Greensleeves
was my delight,
Greensleeves was my heart
of gold.†The piece
starts with an
introduction that flows
into the familiar
poignant melody, using
beautiful and unexpected
harmonies for a
contemporary sound. The
Second Violins and Viola
have an opportunity to
shine as well as they
take over the theme with
a wonderful swelling
crescendo leading to the
heart of the piece. A
Solo Violin and Solo
Cello restate the melody
against the pizzicato
accompaniment motif
established in the
beginning. The Optional
Piano part adds magic and
enhances the
orchestration
throughout.Performance
Notes: Start the
introduction very
quietly. Exaggerate the
dynamics throughout. Make
the pizzicato nice and
full while staying under
the melody in the first
violins. At measure 13,
this countermelody in the
first violins should be
felt and not obscure the
Greensleeves melody
played by the second
violins and violas, so
make sure to balance it
accordingly. At measure
20, exaggerate the
crescendo and once forte
is reached, maintain that
intensity all the way to
the decrescendo at
measure 36. The solo
violin line should be
played with lots of
expression and soar above
the pizzicato figures.
Pizzicato figures should
be light and full, played
closer to the
fingerboard. At measure
45, the cello solo should
be strong and connected
singing high above the
rest of the sections.
Make sure the arco
strings in this section
do not overpower the
cello line.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
For
String Orchestra.
Composed by Roger Zare.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2008.
24 pages. Duration 9
minutes. Theodore Presser
Company #416-41451.
Published by Theodore
Presser Company
(PR.416414510).
ISBN
9781598068191. UPC:
680160611379. 9x12
inches.
The
enigmatic title of Roger
Zare’s overture is
an anagram of
Zauberflöte —
the work is based on
Mozart’s The Magic
Flute, breaking down
themes from the
opera’s overture
as well as the Queen of
the Night aria, and
spinning them out of
control. Zare’s
charming and clever work
includes an “Overt
Metrical Fugue,†(a
serendipitous anagram of
Magic Flute Overture)
using a subject that
mashes up all of the
disassembled Mozart
motives. After the fugue
runs its course, Zare
quotes small but
recognizable parts of the
overture almost verbatim,
but only from the players
farthest away from the
conductor to create a
disembodied
sound. This work is
based on Mozart’s
overture to The Magic
Flute, breaking down the
themes and motives from
that overture as well as
the famous Queen of the
Night aria, “Der
Hölle Rache,â€
and spinning them out of
control. While the title
seems to be nonsense, it
is actually an anagram of
“Zauberflöte.â
I’m sure that
Mozart would have
appreciated the humor in
this work, even though
the harmonic language is
quite far removed from
the Classical era. The
piece opens with repeated
E-flats, suggesting the
beginning of the main
theme of the Magic Flute
overture, and it
gradually expands outward
chromatically, creating
gritty dissonances. Other
borrowed motives from
Mozart creep their way
in, as well as complex
polyrhythms on the
repeated notes. I imitate
the structure of
Mozart’s overture
by writing a fugue
(subtitled “Overt
Metrical Fugue,†a
serendipitous anagram of
Magic Flute Overture)
using a subject that
mashes up all of the
disassembled Mozart
motives. Gradually, I
work in references to the
excessively high
coloratura part of
“Der Hölle
Rache,†treating it
as a second subject.
After the fugue runs its
course, I quote small but
recognizable parts of the
overture almost verbatim,
but only from the players
farthest away from the
conductor tocreate a
disembodied sound.