SKU: HL.49003109

ISBN 9790220115080. UPC: 073999867374. 9.0x12.0x0.128 inches.

SKU: PR.11641861SP

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

SKU: HL.14007007

ISBN 9780711927094. UPC: 752187853176.

Fifty best-loved classical themes skilfully arranged for all keyboards by Daniel Scott. Includes suggested registrations and rhythms.

SKU: FG.55011-818-8

ISBN 9790550118188.

Joha nna Almark - singer, orchestra and choral conductor, composer, arranger and violinist - is one of Finland's most versatile musicians. The rain it raineth every day is a swinging 21st century madrigal for mixed 5-part choir, set to Feste's song from the The Twelfth Night by William Shakespeare.

SKU: BT.9781408105283

ISBN 9781408105283. English.

The perfect book for pupil and teacher.

• Tunes you know and want to play.
• Technique carefully graded.
• Clear fingering diagrams.
• Concise theory explanations.
• New duets.
• Fresh new look.

SKU: AP.1-ADV7429

UPC: 805095074291. English.

The lyrics for As with Gladness Men of Old were written by Englishman William Dix (1837--1898) in the 1860s, reportedly on the day of the Epiphany while Dix was sick in bed. The tune was included in a collection of German chorales edited by Conrad Kocher and published in the 1830s. As a testimony to the flexibility of such music, the hymn is also sung during Thanksgiving under the title For the Beauty of the Earth.

This arrangement for saxophone quartet (SATBar)---rather than favoring a soprano solo with accompaniment---strives to include all of the players in the music making, particularly by distributing the melodic material. All dynamics and articulations, minimally marked, should be taken as suggestions only, as performers are encouraged to make their own interpretations.

SKU: BR.MR-1165

ISBN 9790004481011. 9 x 12 inches.

His works also include a quantity of instrumental music, much of it for wind instruments. For bassoon he wrote several concertos, 6 duets and a set of 3 quartets published by Leduc as Opus 5. The present edition is based on an early set of manuscript parts preserved in the Bischofliches Ordinariats-Archiv, Eichstatt, Germany. Phrasing and expression marks have been sparingly added, lang appoggiaturas written out and obvious mistakes corrected.

SKU: BA.BVK02601

SKU: PR.11641867S

UPC: 680160683208.

Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

SKU: BA.BA08340

ISBN 9790006521135.

The newly engraved scores and parts for the six op. 4 organ concertos follow the revised volume of the Handel Complete Edition edited by Terence Best and William Gudger [BA 8340 / BA 8341-BA 8346].

The new scores and orchestral parts are free from the overediting found in other editions available today. This means performers can play just exactly what Handel wrote and not what others think he meant. In other words, you will not find trills, staccato marks and slurs sprinkled throughout the score, you will find what Handel wrote. In this new Urtext edition all editorial additions are clearly indicated.

Additio nal string parts may also be purchased separately.

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

SKU: CF.J763

ISBN 9781491146248. UPC: 680160903740. 9 x 12 inches. Key: Bb major. Text: Julia Ward Howe. Julia Ward Howe.

Made popular by the Mormon Tabernacle Choir's Grammy winning performance in 1959, Peter Wilhousky's famous arrangement of Battle Hymn of the Republic has remained a staple to this day. In this Critical Edition for Band edited by Justin P. Tokke, a new arrangement has been crafted based on Wilhousky's original orchestral scoring. To enhance playability, generous cross-cuing and doubling of the choral parts have been applied in cases where the band version is played without voices. This new arrangement ensures complete compatibility with both the choral and orchestral versions, with matching measure numbers and rehearsal marks, and comes complete with a full score and parts produced with modern engraving standards. This exciting edition is ready to continue Wilhousky's legacy and hopes to inspire future collaboration and new performance opportunities.

SKU: AP.48840

UPC: 038081561646. English. Words adapted from As With Gladness Men of Old by William C. Dix; music; additional words; by Ruth Morris Gray.

This sweet setting is an adaptation of the As with Gladness Men of Old text about those who followed the star. Concise vocal ranges, sensible phrasing, and a naturally flowing poetic meter make for manageable preparation during the busiest time of year. Ruth's ability to construct a lyrical melody, memorable piano motives, and logical voice parts shines clearly through. Several satisfying suspensions and a momentary tonal shift provide a warm harmonic backdrop. Be sure to observe the expressive dynamic and tempo markings to shape the most musical performance. A lovely selection for both concert and worship.

SKU: AP.48838

UPC: 038081561622. English. Words adapted from As With Gladness Men of Old by William C. Dix; music; additional words; by Ruth Morris Gray.

This sweet setting is an adaptation of the As with Gladness Men of Old text about those who followed the star. Concise vocal ranges, sensible phrasing, and a naturally flowing poetic meter make for manageable preparation during the busiest time of year. Ruth's ability to construct a lyrical melody, memorable piano motives, and logical voice parts shines clearly through. Several satisfying suspensions and a momentary tonal shift provide a warm harmonic backdrop. Be sure to observe the expressive dynamic and tempo markings to shape the most musical performance. A lovely selection for both concert and worship.

SKU: AP.48839

UPC: 038081561639. English. Words adapted from As With Gladness Men of Old by William C. Dix; music; additional words; by Ruth Morris Gray.

This sweet setting is an adaptation of the As with Gladness Men of Old text about those who followed the star. Concise vocal ranges, sensible phrasing, and a naturally flowing poetic meter make for manageable preparation during the busiest time of year. Ruth's ability to construct a lyrical melody, memorable piano motives, and logical voice parts shines clearly through. Several satisfying suspensions and a momentary tonal shift provide a warm harmonic backdrop. Be sure to observe the expressive dynamic and tempo markings to shape the most musical performance. A lovely selection for both concert and worship.

SKU: CF.CPS125F

ISBN 9780825888199. UPC: 798408088194. 9x12 inches.

Named for the beautiful Catawba River, this piece begins with a brilliant fanfare, revealing the principle motive upon which the entire composition is based. Shifting tonalities and colorful scoring are the hallmark of the opening section. This is followed by an expressive con moto section that provides the piece with dramatic contrast. Once the opening theme returns, Catawba Crossing develops into a rousing march in 6/8 time, followed by a return to the opening material, bringing the piece to an exciting conclusion. An impressive choice for contest or festival performance.

SKU: AP.45988S

UPC: 038081525693. English.

Alliances are central to the success of any project, big or small. People looking past their differences to achieve a common goal have been a hallmark of our country since its inception. This piece is a celebration of the great things that are possible when we work together. (4:10).