SKU: CA.1282503

ISBN 9790007142773. Language: English. Text: Schindler, Peter / Dieterich, Babette. Text: Peter Schindler, Babette Dieterich.

Followin g the great success of this musical in German, it is now also available in English. Everything seems to be going wrong at Circus Allegro. Bruno the Bear refuses to appear on stage, his assistant, Bella Stella, has disappeared, and finally, even the tiger escapes! Circus director Ricardo Grande has to improvise constantly. Luckily, his new assistant, clumsy August the Clown, always has a brilliant idea just at the right time. Despite all mishaps, the audience gets to experience a splendid circus evening. And in the middle of all the excitement, the tiger and Bella suddenly reappear. The audience is swept off its feet. Wherever the world-famous Circus Allegro appears, audiences shed tears of joy and are enchanted - visually, acoustically and emotionally. The individual numbers of this children's musical are composed in different styles and the songs can be performed either with an orchestra or just with a piano. Score available separately - see item CA.1282500.

SKU: HL.48182350

UPC: 888680840648. 9.25x12.25 inches.

“Fren ch composer, Pierre Max Dubois (1930-1995) significantly contributed to the wind repertoire. Circus Parade Duo for Alto Saxophone or Clarinet and Drums was published in 1965 and remains prominent as a more unusual addition to the ensemble repertoire. Dubois' music is characteristically light-hearted with unusual harmonic and melodic textures. Circus Parade Duo reflects Dubois' compositional characteristics with a typical performance lasting about fifteen minutes. Dubois' work is suitable for advanced performers, addressing virtuosic features, such as complex rhythms, constant changes of time signature, chromaticism, and exploitation of the ensemble, amongst other aspects. Circus Parade Duo is essential to the advanced Alto Saxophone, Clarinet and Percussion repertoire as Dubois' work makes for an exciting, varied and enjoyable performance for players and audiences alike.&rdquo.

SKU: FJ.FJH2301

ISBN 9781619281929. UPC: 241444379356. English.

The first book in the New Etudes series begins with 20 small works that present a special technical aspect. Students feel a relaxed freedom when they realize the work is focused on exploration rather than performance. The specific goals are listed under each title and include: bouncing both hands with a loose wrist; right hand broken chords; three note slurs; left-hand crossovers and many more. These original etudes range from eight measures to two pages, include imaginative art, and are sure to develop artistic playing.

SKU: CL.012-4600-75

A ponderous and dramatic march from the King of all march composers! Composed for King's friend Merle Evans, bandmaster for the Ringling Bros. Barnum & Bailey Circus, Invictus (which means unconquerable) lives up to its title! After a ponderous minor-key first section featuring low brass and woodwinds, the second features an exciting circusy sound. The trio is followed by a return to the minor key, and ends with a rock-solid final section. An excellent choice for more advanced high school, college, and adult bands, Invictus will impress audiences and engage performers from top to bottom!

SKU: CL.012-4600-01

A ponderous and dramatic march from the King of all march composers! Composed for King’s friend Merle Evans, bandmaster for the Ringling Bros. Barnum & Bailey Circus, Invictus (which means unconquerable) lives up to its title! After a ponderous minor-key first section featuring low brass and woodwinds, the second features an exciting circusy sound. The trio is followed by a return to the minor key, and ends with a rock-solid final section. An excellent choice for more advanced high school, college, and adult bands, Invictus will impress audiences and engage performers from top to bottom!

SKU: PR.416413710

ISBN 9781598068214. UPC: 680160587162. 9x12 inches.

Needham's original intent with Chamber Symphony was to encapsulate the 2008 presidential election, from the Democratic primaries to the historic general election campaign and win of Barack Obama. But, says Needham, In the midst of the general election circus, I decided to broaden my inspiration and have the work's overall goal focus on the larger ideas of hope and transformation. Chamber Symphony was commissioned by the American Composers Orchestra with generous support of Paul Underwood. Additional support was from the National Endowment for the Arts.
I originally envisioned a work inspired by the political landscape of the 2008 presidential election, focusing primarily on the hard-fought Democratic Primary race. I was fascinated by the historic and hopeful spirit that both the Barack Obama and Hillary Clinton campaigns embodied. Sometime later, in the midst of the general election circus, I decided to broaden my inspiration and have the work’s overall goal focus on the larger ideas of hope and transformation. Chamber Symphony is constructed in three movements (played without pause): I. Hammering Out, II. Open-ended Echoes, and III. Radiant Nation. The titles suggest a general atmosphere that each movement attempts to express. The outer movements, both quick in tempo, act as the antithesis of each other in terms of mood. “Hammering Out” employs an aggressive, relentless, pounding beat that frequently shifts, often emphasized with metallic sounds. “Radiant Nation” is much lighter and more optimistic in tone, and uses an up-beat groove throughout the movement. The middle movement, “Open-ended Echoes,” is the proverbial calm after the storm. Unlike the outer movements, “Open-ended Echoes” is almost void of any strong sense of pulse. The movement attempts to create a peaceful, contemplative mood that transforms the volatile nature of the first movement tothe radiant spirit of the last. Chamber Symphony was commissioned by the American Composers Orchestra for its Orchestra Underground Series with the generous support of Paul Underwood. Additional support for the ACO’s Emerging Composers Program comes from the National Endowment for the Arts.— November 5, 2008.

SKU: CF.YPS207

ISBN 9781491152270. UPC: 680160909773. Key: C minor.

Factory Child is a protest song against child sweatshops. The piece depicts the factory life of children laboring many hours a day and manufacturing the shoes and clothes that end up in American retail stores. Young performers will find this thought-provoking piece an excellent way to use their musical voice to affect change.
Factory Child is a protest song against child sweatshops. Written in memory of Mrs. Peterson, who loved children dearly, the piece depicts the factory life of children laboring 16+ hours a day, manufacturing the shoes and clothes that end up in American retail stores.Factory Child begins with factory sounds and an oppressive, repetitive pattern that supports the melody carried by the upper voices. The second section is composed of wistful, dream-like sounds and melodies that have traces of children’s songs that remind us that these children forced into labor would love to have the opportunity to play, attend school, and dream, but cannot and realistically have little hope for a life we consider normal.  The middle section gives way to more sounds from the factory. The climax is a raucous circus-like waltz using themes from both sections.The percussion parts can be covered by six players. Some players will need to cover two parts. Use someone from the wind section if you do not have six, as some of the parts, although important, are not very difficult. The second clarinet never goes over the break and the bass line is usually doubled in the euphonium as well as in the low reeds.This piece is an excellent way for young performers to use their musical voice to affect change. It is a great discussion starter for researching where our apparel comes from and why to stay away from some brands. It can also make students aware of the fantastic opportunity they have to attend school that children in other parts of the world do not. Young students will find this piece very thought provoking.Ed Kiefer .

SKU: CL.012-3895-01

Fingers will fly and ears will perk up to this unique quick-step march titled Half Step March by Kyle McKinzey. As the title suggests, it is a flurry of chromatic runs and licks that will make your students WANT to practice, and have your audience’s toes tapping. For many, it will bring back memories of the old circus marches. You will be able to see clowns running about, trapeze artists flying around and much more. A great opener to a concert, or a quick encore piece that will leave them wanting more.

SKU: CF.YPS207F

ISBN 9781491152959. UPC: 680160910458.

Facto ry Child is a protest song against child sweatshops. The piece depicts the factory life of children laboring many hours a day and manufacturing the shoes and clothes that end up in American retail stores. Young performers will find this thought-provoking piece an excellent way to use their musical voice to affect change.
Factory Child is a protest song against child sweatshops. Written in memory of Mrs. Peterson, who loved children dearly, the piece depicts the factory life of children laboring 16+ hours a day, manufacturing the shoes and clothes that end up in American retail stores.Factory Child begins with factory sounds and an oppressive, repetitive pattern that supports the melody carried by the upper voices. The second section is composed of wistful, dream-like sounds and melodies that have traces of children’s songs that remind us that these children forced into labor would love to have the opportunity to play, attend school, and dream, but cannot and realistically have little hope for a life we consider normal.  The middle section gives way to more sounds from the factory. The climax is a raucous circus-like waltz using themes from both sections.The percussion parts can be covered by six players. Some players will need to cover two parts. Use someone from the wind section if you do not have six, as some of the parts, although important, are not very difficult. The second clarinet never goes over the break and the bass line is usually doubled in the euphonium as well as in the low reeds.This piece is an excellent way for young performers to use their musical voice to affect change. It is a great discussion starter for researching where our apparel comes from and why to stay away from some brands. It can also make students aware of the fantastic opportunity they have to attend school that children in other parts of the world do not. Young students will find this piece very thought provoking.Ed Kiefer .

SKU: BR.EB-9253

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

ISBN 9790004185537. 9 x 12 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

SKU: BR.PB-5432

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

ISBN 9790004212790. 10 x 12.5 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

SKU: ST.C501

ISBN 9790570815012.

Close Encounters for Clarinet in B flat & Piano draws on historic themes connected to the medieval closes (also know as wynds or vennels) of the Scottish burgh town of Lanark, situated in the rural Clyde Valley. Often named after prominent resident business owners, these otherwise unremarkable narrow lanes are given life by the records of their occupiers or through local tales.

Aside from the more self explanatory titles, ‘Luminare’ describes the astronomical interests of electrical pioneer David Hunter; ‘Jumbo Jive’ relates to the legend of an inebriated circus elephant escapee who became stuck in the arch of Wide Close; ‘Amber Sky’ connects the India Ale trade of Brewery Close with an occasional, evocative dusk light that cloaks the town before sunset.

Close Encounters comprises five fascinating and contrasted short movements each set within its own very vivid sound world. The colourful harmonic language is drawn from a number of musical influences including flavours of Jazz, the silver screen and the French impressionists, all adding up to music that is both engaging to play and to listen to. The five movements are set at a comfortable technical level for the intermediate to advanced clarinettist, cover the entire range of the instrument, and the set would make for an intriguing addition to any clarinet recital.

- Paul Harris (composer & clarinettist)

SKU: HL.49030465

SKU: XC.ICB2303FS

Cornerstone is a follow up to Tyler Arcari’s very popular march Capstone. This new march has all of Arcari’s compositional signatures in standard march form but contrasting to Capstone – is more in the style of a circus march. Still extremely accessible for younger musicians, this march is perfect for your next adjudication or festival performance.

SKU: AP.81-CB224485

ISBN 9781778930522. UPC: 685462030538. English.

David Marlatt's The Three Rings captures the spirit of a traditional circus with several acts represented by stereotypical forms of music such as a waltz and march as well as some more modern and contemporary harmonies and rhythms. Each act is interrupted by another which simulates the audience moving their attention from one ring to another. Sections include: The Greatest Show on Earth!, The Trapeze Artists, The Acrobats, The Clowns, The Magic Box, and The Magician. (6:00).

SKU: CF.YAS244

ISBN 9781491164969. UPC: 680160923878. Key: E minor.

Fossils and Finale combines two of the better-known movements from the humorous Carnival of the Animals. This  fourteen-movement suite by Camille Saint-Saëns featured musical depictions of animals such as The Swan and The Elephant, and was written for a private performance with young students in mind. While the composer didn't feel it was serious enough to be performed during his lifetime, it has since gone on to become a beloved classical-musical favorite. In this arrangement, the quirky Fossils with optional xylophone is written to be more accessible for intermediate students, segueing seamlessly into the circus-like Finale. Both movements feature bright, fun melodies within playable ranges and keys for the developing ensemble and the original piano part integrated into the string parts.

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

SKU: FJ.B1857

English.

Compose d in the style of a traditional circus march, this exciting work lets younger bands really open up the throttle and have some fun! Wind parts have very comfortable ranges and careful scoring makes even a small band sound big. Really clever and engaging music for younger players!

About FJH Developing Band

Sligh tly more advanced than beginning band. Clarinet 1 begins to play over the break. Rhythms and ranges are expanded to accommodate the end of first-year as well as second-year instruction. Grade 1.5