Festival Te Deum Chorale Soprano seul, SATB, Clavier Boosey and Hawkes
(Treble Solo, SATB Chorus and Organ). By Benjamin Britten (1913-1976). For Chora...(+)
(Treble Solo, SATB Chorus
and Organ). By Benjamin
Britten (1913-1976). For
Choral (SATB, Organ). BH
Large Choral. 24 pages.
Boosey and Hawkes
#M051481699. Published by
Boosey and Hawkes
Composed by Forsblad.
Concert Band. Audio
recording available
separately (item
CL.WFR138). Score and set
of parts. Composed 1982.
Duration 5 minutes, 25
seconds. Opus III Wind
Orchestra Publications
#012-1644-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-1644-00).
This skillfully
conceived composition
starts slowly with
mounting tension and
bursts suddenly into an
exciting scherzo. The
thematic interlocking
motives build, subside,
and build again to a
brilliant climax.
Composed by Forsblad.
Concert Band. Audio
recording available
separately (item
CL.WFR138). Extra score.
Composed 1982. Duration 5
minutes, 25 seconds. Opus
III Wind Orchestra
Publications
#012-1644-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-1644-01).
This skillfully
conceived composition
starts slowly with
mounting tension and
bursts suddenly into an
exciting scherzo. The
thematic interlocking
motives build, subside,
and build again to a
brilliant climax.
Homeward Orchestre d'harmonie - Facile Carl Fischer
Band concert band - Grade 2 SKU: CF.YPS258 Composed by William Harbinson....(+)
Band concert band - Grade
2
SKU: CF.YPS258
Composed by William
Harbinson. Set of Score
and Parts. Carl Fischer
Music #YPS258. Published
by Carl Fischer Music
(CF.YPS258).
ISBN
9781491163580. UPC:
680160922376.
Homew
ard is a lyrical ballad
in ABA form. The
composition presents few
rhythmic challenges,
allowing the ensemble to
concentrate on beauty of
sound, balance, dynamic
nuance, phrasing, and
expressive performance.
The woodwind voices
present the melody at the
opening accompanied by a
flute countermelody. Care
should be taken to
balance the two parts.
The four-measure phrases
call for tapered dynamics
and freedom of the metric
pulse at cadence points.
A change of tempo and
key, with a lean toward
the minor mode, mark the
contrasting B section (m.
9). Heed the dynamic
markings that swell to a
climax (m. 16) and then
subside within this
section. Take liberty to
hold back the tempo at
the percussion link to
the forte restatement of
A (m. 27) and the arrival
of the fortissimo climax
(m. 33). The coda (m. 35)
should be presented
slowly and serenely as
the composition comes to
a quiet close.
Harp, piano SKU: FG.55011-911-6 Composed by Einojuhani Rautavaara. Classi...(+)
Harp, piano
SKU:
FG.55011-911-6
Composed by Einojuhani
Rautavaara. Classical,
contemporary. Score and
part. Fennica Gehrman
#55011-911-6. Published
by Fennica Gehrman
(FG.55011-911-6).
ISBN
9790550119116.
Pian
o reduction for
Einojuhani Rautavaara's
Concerto for harp and
orchestra (2000)
available for the first
time (2024)! This product
includes also the solo
part edited by Kalen
Smith.
The
composer tells about the
three-movement work: The
concerto is in three
movements. After the
orchestral introduction,
the harp leads into a
gradually thickening
texture that progresses
into a series of powerful
culminations. Once these
subside, the expansive
motifs of the
introduction return. The
solo is echoed by two
harps in the orchestra: I
wanted the magnificent
sound to be multiplied.
The simple melody in the
second movement is
coloured in a very
archaic way by the
orchestra; we might
imagine the performance
of a troubadour or a bard
in ancient times. The
finale is festive,
'solenne'. It presents
the combined sonority of
the three harps at its
most colourful and
melodic.
Duration:
23' Orchestra:
2222-4220-12-2hp-str
(performance material is
available for hire from
the
publisher).
The
study score is available
for sale
(M042091586).
Eino
juhani Rautavaara (9.
October 1928 � 27.
July 2016) is
internationally one of
the best known and most
frequently performed
Finnish composers. He was
by nature a romantic,
even a mystic, as is
often apparent from the
titles of his works: for
example Angels and
Visitations for orchestra
or his double-bass
concerto Angel of Dusk.
Despite Rautavaara�s
label of mysticism he was
a complex and
contradictory figure
whose works cannot be
categorized in stylistic
terms.
Band concert band SKU: CF.YPS258F Composed by William Harbinson. Full sco...(+)
Band concert band
SKU:
CF.YPS258F
Composed
by William Harbinson.
Full score. 12 pages.
Carl Fischer Music
#YPS258F. Published by
Carl Fischer Music
(CF.YPS258F).
ISBN
9781491163986. UPC:
680160922772.
Homew
ard is a lyrical ballad
in ABA form. The
composition presents few
rhythmic challenges,
allowing the ensemble to
concentrate on beauty of
sound, balance, dynamic
nuance, phrasing, and
expressive performance.
The woodwind voices
present the melody at the
opening accompanied by a
flute countermelody. Care
should be taken to
balance the two parts.
The four-measure phrases
call for tapered dynamics
and freedom of the metric
pulse at cadence points.
A change of tempo and
key, with a lean toward
the minor mode, mark the
contrasting B section (m.
9). Heed the dynamic
markings that swell to a
climax (m. 16) and then
subside within this
section. Take liberty to
hold back the tempo at
the percussion link to
the forte restatement of
A (m. 27) and the arrival
of the fortissimo climax
(m. 33). The coda (m. 35)
should be presented
slowly and serenely as
the composition comes to
a quiet close.
Choral SATB Choir SKU: CF.CM9654 Composed by Mark Burrows. Fold. Performa...(+)
Choral SATB Choir
SKU:
CF.CM9654
Composed by
Mark Burrows. Fold.
Performance Score. 12
pages. Duration 4:15.
Carl Fischer Music
#CM9654. Published by
Carl Fischer Music
(CF.CM9654).
ISBN
9781491157268. UPC:
680160915828. 6.875 x
10.5 inches. Key: Ab
major. English, English.
Julian of Norwich
(1342-1416).
Burrow
s's setting of words of
assurance from the
English mystic Julian of
Norwich (1342-1416) is as
relevant today as ever.
For the advanced mixed
ensemble, the powerful
lyrics coupled with
gorgeous harmonies make
this an optimistic song
of hope appropriate
throughout the
year. All shall be
well, And all shall be
well, And all manner of
thing shall be well.
These words of assurance
from the English mystic
Julian of Norwich
(1342-1416) are as
relevant today as ever.
During her life, Julian
saw her community
devastated by the Great
Plague as well as deep
civil unrest. Yet through
all the turmoil came a
vision of hope that has
given the world this
profound text. One of the
most striking features is
how this short text
incorporates so much
repetition. It's as if
the writer knew she must
be gently persistent in
order for her optimistic
message to truly sink in.
The opening section tries
to capture musically some
of that persistent
optimism. Then there is a
departure from this
optimistic tone (measure
26) The feel becomes more
desperate, building to an
anguished cry (measure
38), acknowledging the
reality that, while all
shall be well, things are
very much NOT well right
now. Eventually the
anguish subsides (measure
52) as the music turns
back hopeward with the
calm assurance, again and
again, that all shall be
well. All shall be
well,And all shall be
well,And all manner of
thing shall be well.These
words of assurance from
the English mystic Julian
of Norwich (1342-1416)
are as relevant today as
ever. During her life,
Julian saw her community
devastated by the Great
Plague as well as deep
civil unrest. Yet through
all the turmoil came a
vision of hope that has
given the world this
profound text.One of the
most striking features is
how this short text
incorporates so much
repetition. It’s
as if the writer knew she
must be gently persistent
in order for her
optimistic message to
truly sink in.The opening
section tries to capture
musically some of that
persistent optimism.Then
there is a departure from
this optimistic tone
(measure 26) The feel
becomes more desperate,
building to an anguished
cry (measure 38),
acknowledging the reality
that, while all shall be
well, things are very
much NOT well right
now.Eventually the
anguish subsides (measure
52) as the music turns
back hopeward with the
calm assurance, again and
again, that all shall be
well.
Zeus: King Of The Gods Orchestre d'harmonie - Intermédiaire/avancé Opus III Wind Orchestra Publications
Concert band - Grade 4 SKU: CL.012-4180-75 Composed by Romeyn. Concert Ba...(+)
Concert band - Grade 4
SKU:
CL.012-4180-75
Composed by Romeyn.
Concert Band. Concert
Band Series. Audio
recording available
separately (items
CL.WFR378 & CL.WFR387).
Oversized, spiral-bound
score. Composed 2013.
Duration 8 minutes, 20
seconds. Opus III Wind
Orchestra Publications
#012-4180-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4180-75).
This monumental
programmatic work from
the pen of Rob Romeyn
captures the myth and
legend of Zeus, the
mythical master of the
gods and men. A sky god,
he controls lightning,
which he uses as a
weapon, and thunder. It
opens as Zeus becomes
involved in the Trojan
war, hurling lightning
bolts at his opponents.
The tension soon subsides
as we are introduced to
the eternally beautiful
Hera, whom Zeus would
eventually marry. The
music then ensues as our
story unfolds, as Zeus
made his domain the
mountaintops and clouds
where he could survey all
creation, and inflict
pain and justice on all
evildoers. Tension builds
as Zeus battles Typhon in
hand to hand combat,
ending ultimately with
Zeus throwing the
enormous Mt. Etna at the
monster, pinning him
underneath. From here,
the tension subsides, and
a beautiful lyrical
section builds to an
ending of incredible
power and grandeur as
Zeus again reaffirms his
stature as the ruler of
Mt. Olympus. This
exceptional work is a
wonderful addition to any
concert or festival
performance!
Chamber Music String Quartet SKU: PR.114410380 Composed by Lowell Lieberm...(+)
Chamber Music String
Quartet
SKU:
PR.114410380
Composed
by Lowell Liebermann.
Saddle, Tape Junction.
Set of Score and Parts.
With Standard notation.
Composed 1998. Opus 60.
48 + 92 pages. Duration
30 minutes. Theodore
Presser Company
#114-41038. Published by
Theodore Presser Company
(PR.114410380).
UPC:
680160015160. 9.5 x 13
inches.
My second
String Quartet was
written twenty years
after the first, Opus 4
from 1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so. The
Second Quartet is in four
movements: Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement. An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no such
programmatic intent while
writing the quartet, it
was not an entirely
incorrect assessment of
the work's intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness. The
second movement's scherzo
is an aggressively
animated piece of musical
machinery. The third
movement's Variations
unfold into a greater
variety of moods than the
others - but the moments
of lyricism are countered
by aggressive or ironic
outbursts. The final
movement's attempt at
triumph quickly subsides
into a return of the
first movement, before
being transformed onto a
sense of resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major. The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th
1998. My second String
Quartet was written
twenty years after the
first, Opus 4 from
1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so.The
Second Quartet is in four
movements:Â Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement.An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no
such programmatic intent
while writing the
quartet, it was not an
entirely incorrect
assessment of the
work’s intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness.Â
The second
movement’s scherzo
is an aggressively
animated piece of musical
machinery. The third
movement’s
Variations unfold into a
greater variety of moods
than the others –
but the moments of
lyricism are countered by
aggressive or ironic
outbursts. The final
movement’s attempt
at triumph quickly
subsides into a return of
the first movement,
before being transformed
onto a sense of
resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major.The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th 1998.
Composed by
William Harbinson. Fps.
Set of Score and Parts.
2+8+8+4+8+8+8+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+4+6+4+2+
10+24 pages. Duration
4:15. Carl Fischer Music
#FPS162. Published by
Carl Fischer Music
(CF.FPS162).
ISBN
9781491161548. UPC:
680160920198.
Music
for a Noble Gathering
captures the pomp and
dignity of a regal
celebration. The
composition opens with a
percussion flourish to a
fanfare. Perform this
passage at a stately
tempo with marked
separation. A legato,
lyrical theme appears (m.
17) that contrasts the
opening passage.
Emphasize the ritard and
crescendo in m. 24 in
preparation for the
return of the opening
theme (m. 25) that
completes the A section.
Although thematically
related to the fanfare,
the B section (m. 35)
provides contrast in
tempo, key, and style.
Strive for a connected
and sustained
presentation with careful
attention to the shaping
of the phrases. Proper
balance between the
melody and countermelody
at m. 45 is paramount.
The climax in m. 53
quickly subsides but
immediately rebuilds for
a lively percussion
feature. The restatement
of the A section (m. 61)
leads to a final climax
(m. 91), a brief coda (m.
93) and a dynamic
closure. William
Harbinson is Professor
Emeritus and former Dean
of the Hayes School of
Music at Appalachian
State University. He has
received nine J.W. Pepper
Editors' Choice Awards
that identify the very
best of the new music
available. His
compositions for band
appear on
contest/festival
literature lists of
several states and are
performed worldwide.
 . Music for a
Noble Gathering captures
the pomp and dignity of a
regal celebration. The
composition opens with a
percussion flourish to a
fanfare. Perform this
passage at a stately
tempo with marked
separation. A legato,
lyrical theme appears (m.
17) that contrasts the
opening passage.
Emphasize the ritard and
crescendo in m. 24 in
preparation for the
return of the opening
theme (m. 25) that
completes the A section.
Although thematically
related to the fanfare,
the B section (m. 35)
provides contrast in
tempo, key, and style.
Strive for aÂ
connected and sustained
presentation with careful
attention to the shaping
of the phrases. Proper
balance between the
melody and countermelody
at m. 45 is
paramount. The climax
in m. 53 quickly subsides
but immediately rebuilds
for a lively percussion
feature. The restatement
of the A section (m. 61)
leads to a final climax
(m. 91), a brief coda (m.
93) and a dynamic
closure.William Harbinson
is Professor Emeritus and
former Dean of the Hayes
School of Music at
Appalachian State
University. He has
received nine J.W. Pepper
Editors’ Choice
Awards that identify the
very best of the new
music available. His
compositions for band
appear on
contest/festival
literature lists of
several states and are
performed
worldwide. .
Concert band - Grade 4 SKU: CL.012-4180-01 Composed by Romeyn. Concert Ba...(+)
Concert band - Grade 4
SKU:
CL.012-4180-01
Composed by Romeyn.
Concert Band. Concert
Band Series. Audio
recording available
separately (items
CL.WFR378 & CL.WFR387).
Extra full score.
Composed 2013. Duration 8
minutes, 20 seconds. Opus
III Wind Orchestra
Publications
#012-4180-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4180-01).
This monumental
programmatic work from
the pen of Rob Romeyn
captures the myth and
legend of Zeus, the
mythical master of the
gods and men. A sky god,
he controls lightning,
which he uses as a
weapon, and thunder. It
opens as Zeus becomes
involved in the Trojan
war, hurling lightning
bolts at his opponents.
The tension soon subsides
as we are introduced to
the eternally beautiful
Hera, whom Zeus would
eventually marry. The
music then ensues as our
story unfolds, as Zeus
made his domain the
mountaintops and clouds
where he could survey all
creation, and inflict
pain and justice on all
evildoers. Tension builds
as Zeus battles Typhon in
hand to hand combat,
ending ultimately with
Zeus throwing the
enormous Mt. Etna at the
monster, pinning him
underneath. From here,
the tension subsides, and
a beautiful lyrical
section builds to an
ending of incredible
power and grandeur as
Zeus again reaffirms his
stature as the ruler of
Mt. Olympus. This
exceptional work is a
wonderful addition to any
concert or festival
performance!
Grade 5 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2010.
Duration 480 seconds.
Anglo Music Press
#AMP276. Published by
Anglo Music Press
(HL.44010794).
UPC:
884088547868. 9x12
inches.
In this
work the composer follows
the models of Mendelssohn
(Fourth Symphony), Elgar
(In the South: Alassio)
and Respighi (Roman
Trilogy) by using
instrumental color to
produce a sunny piece,
following a holiday in
southern Italy, and
describing a festival day
in Naples. The work
starts with brilliant
woodwinds and percussion
accompanying an opening
celebratory theme in the
brass. The mood subsides
until a trumpet intones a
new theme in the style of
a Neapolitan serenade,
taken up by the whole
band. This is interrupted
by a passing parade (the
local band is not
particularly
accomplished!) but this
disappears into the
distance. A vivace
follows in typical
Neapolitan 6/8 meter,
representing the festive
dancing which
characterises the local
celebration. A change of
mood is introduced by a
horn chorus, but the
dancing resumes and
eventually joins with the
horn theme to bring
festivities to a
close.
(Cello and Piano). Composed by Edward Gregson. For Cello, Piano Accompaniment. M...(+)
(Cello and Piano).
Composed by Edward
Gregson. For Cello, Piano
Accompaniment. Music
Sales America. 52 pages.
Novello and Co Ltd.
#NOV958089. Published by
Novello and Co Ltd.
Concert band - Grade 1 SKU: CL.024-4449-01 Composed by Romeyn. Young Conc...(+)
Concert band - Grade 1
SKU:
CL.024-4449-01
Composed by Romeyn. Young
Concert Band. Rising Band
Series for Developing
Bands! Audio recording
available separately
(item CL.WFR390). Extra
full score. Composed
2016. Duration 2 minutes,
50 seconds. C.L.
Barnhouse #024-4449-01.
Published by C.L.
Barnhouse
(CL.024-4449-01).
Simple Dreams
is lyrical music of the
highest quality for
beginning band. Beautiful
and expressive, the piece
begins softly as a
memorable melody is
introduced. The melody is
then developed amid
varied textures leading
to a dramatic crescendo
and a soaring full
ensemble. The music then
subsides, ending as it
began with just a whisper
and a touching spell of a
dream no one will want to
break. An outstanding
addition to the beginning
band repertoire.
SATB Chorus & Organ SKU: SU.91480570 For SATB Chorus & Organ. Comp...(+)
SATB Chorus & Organ
SKU: SU.91480570
For SATB Chorus &
Organ. Composed by
Dan Locklair.
Vocal/Choral, Sacred
Choral. Accompanied by
organ. Choral Octavo.
Composed 2010. Duration
7'. Subito Music
Corporation #91480570.
Published by Subito Music
Corporation
(SU.91480570).
Text:
Angier Brock.
SATB
Chorus, Organ Duration:
7' Text: Angier Brock
Composed: 2010 Published
by: Subito Music
Publishing YouTube: Ms.
Brock’s moving
poem is lyrical
throughout. Even in its
beautiful originality,
the poem invokes The Book
of Common Prayer and
biblical scripture (the
latter through references
to dust and breath from
Genesis 2 to the final
line of the poem invoking
the opening of Psalm 62).
Ms. Brock’s poetry
is also filled with
wonderful twists on
traditional texts (such
as in the creative and
reverse naming of the
Trinity in speaking of
Inventing Wind, Generous
Christ, and Luminous
God). Musically, the main
melodic material of the
piece is immediately
heard on a solo organ
color accompanied by
organ strings over a
recurring pedal pulse on
the pitch C. The chorus
soon enters with the
first stanza of the text.
As this stanza unfolds,
the harmony starts to
gradually change as the
pulsing pedal rhythm
begins to move upward by
step. An organ interlude,
reflective of the opening
introduction, soon
emerges (though now over
a C-sharp recurring pedal
pulse), and leads to a
similar choral setting as
found in stanza one. As
the poem’s second
stanza moves forward, it
eventually folds into the
more harmonically rich
stanza three. A fast,
dance-like section
evolves at Inventing
Wind, what a lively dance
your energy creates!
eventually bringing the
work to its climax point.
The spirit of dance soon
subsides and leads to a
quiet and gentle close on
the words …for you
alone my soul in silence
waits.
Minimum
order quantity: 8 copies.
To order quantities fewer
than 8, please email
customer service at
sales@subitomusic.com.
SSA with flute Choral (Soprano/Alto I/Alto II) SKU: HL.48023922 Concer...(+)
SSA with flute Choral
(Soprano/Alto I/Alto II)
SKU: HL.48023922
Concert Music For
Women's Choir.
Composed by Shawn
Kirchner. BH Secular
Choral. Concert,
Festival. Octavo. 20
pages. Boosey & Hawkes
#M051484041. Published by
Boosey & Hawkes
(HL.48023922).
UPC:
888680646493.
6.75x10.5x0.047
inches.
Simple,
repeated note patterns
form the melodic and
accompanimental textures
of this piece, evoking a
sense of humility. Each
verse builds toward a
cascade of running 8th
notes that subsides in
quietness. A mood of
reverence permeates the
piece as Chief Yellow
Lark's words, uttered
with eternity in mind,
reveal all of life to be
sacred.
Concert Band - Grade 5 SKU: HL.44010793 Grade 5 - Score and Parts....(+)
Concert Band - Grade 5
SKU: HL.44010793
Grade 5 - Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2010.
Duration 480 seconds.
Anglo Music Press
#AMP276. Published by
Anglo Music Press
(HL.44010793).
UPC:
884088547851. 9x12
inches.
In this
work the composer follows
the models of Mendelssohn
(Fourth Symphony), Elgar
(In the South: Alassio)
and Respighi (Roman
Trilogy) by using
instrumental color to
produce a
“sunnyâ€
piece, following a
holiday in southern
Italy, and describing a
festival day in Naples.
The work starts with
brilliant woodwinds and
percussion accompanying
an opening celebratory
theme in the brass. The
mood subsides until a
trumpet intones a new
theme in the style of a
Neapolitan serenade,
taken up by the whole
band. This is interrupted
by a passing parade (the
local band is not
particularly
accomplished!) but this
disappears into the
distance. A vivace
follows in typical
Neapolitan 6/8 meter,
representing the festive
dancing which
characterises the local
celebration. A change of
mood is introduced by a
horn chorus, but the
dancing resumes and
eventually joins with the
horn theme to bring
festivities to a
close.
Unaccompanied SATB
Choral Score.
Composed by Julian
Anderson. Choral Large
Works. Classical.
Softcover. 40 pages.
Duration 600 seconds.
Schott Music #ED13975.
Published by Schott Music
(HL.49046382).
UPC:
841886031753. 0.126
inches.
Magnificat
is a tribute to the
unaccompanied motets of
favourite composers from
several eras - in
particular those of
Dufay, the Eton
Choirbook, Robert Carver,
Lassus and Bach. The work
is therefore full of
contrast in texture,
harmony, mood and pacing,
and exploits the
resources of
unaccompanied chorus in a
manner not only analogous
to those already
mentioned but also to
ensemble or orchestral
writing. Naturally -
given the sentiments of
the text - the mood is
predominantly joyful and
exuberant; but the darker
implications of certain
phrases in the text are
not ignored. Towards the
end there is a big choral
explosion on one of the
traditional plainsong
chants for the
Magnificat, before the
work subsides into a coda
of calm serenity.
Magnificat was
commissioned by the ORA
choir. It is dedicated to
the French composer Betsy
Jolas, in celebration of
her 90th birthday, and in
equal celebration of our
mutual love of many
choral composers
mentioned above.
Orchestra Saxophones and Strings SKU: PR.446411060 Composed by Steven Stu...(+)
Orchestra Saxophones and
Strings
SKU:
PR.446411060
Composed
by Steven Stucky. Large
Score. With Standard
notation. Theodore
Presser Company
#446-41106. Published by
Theodore Presser Company
(PR.446411060).
UPC:
680160096275. 11x14
inches.
Steven
Stucky has described the
saxophone quartet as
surprisingly comparable
to the string quartet as
a classic chamber music
medium, while in the
concerto format providing
a worthy counterweight to
the string orchestra. At
times, the saxophones in
Music for Saxophones and
Strings “whisper,
murmur, sigh, sing,
squeal, or even
scream†as the
composer has written in
notes about the work.
Commissioned for the
Raschèr Quartet, the
work falls into two main
sections. The composer
continues that “the
opening slow movement is
dark, nocturnal,
troubled; the language is
densely chromatic.
Mysterious, barely
audible rustlings become
increasingly more
alarming; creatures cry
in the night; and the
movement climaxes in a
lyric outpouring of
melancholy, even tragic
character. The music
subsides by way of
cadenzas for the baritone
and tenor saxophone. The
second, fast movement
arrives almost unnoticed,
since at first it too is
made up of disconnected
fragments —
quirky, skittish,
playful. There are
irregular rhythmic
accents, gliding
quarter-tone runs,
scurrying saxophone
figures (suggesting,
perhaps, a distant echo
the bebop style), and
screaming excursions into
the altissimo register.
Briefly the melancholy of
the slow, nocturnal
opening returns, before a
quick coda leads to an
emphatic
conclusion.â€.
O Come to the Manger Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
Arranged by Steve Hodges. Arr. Steve Hodges. For Concert Band. Concert Band. Cha...(+)
Arranged by Steve Hodges.
Arr. Steve Hodges. For
Concert Band. Concert
Band. Challenger Band
Series. Level: grade 1.5.
Conductor Score & Parts.
1 pages. Published by
Alfred Publishing.
Composed
by Philip Sparke. Anglo
Music Concert Band. Score
Only. Composed 2014.
Anglo Music Press
#AMP372-140. Published by
Anglo Music Press
(HL.44012269).
Golden
Winds was
commissioned by
Jugendblasorchester
Schramberg, Germany, to
celebrate their 50th
anniversary in 2012. They
gave the premiere,
conducted by Andreas
Hirt, at their Christmas
concert that year.The
work opens with a
nervously energetic theme
in the lower woodwinds,
which is developed in
canon and builds to
climax for the whole
band. The mood subsides
to introduce a meditative
section featuring first
the clarinets and then a
rich, chorale-like theme
which grows into a
passionate tutti. This
then leads to the main
body of the piece, a
rhythmic vivo, which
introduces its main theme
quietly before it is
taken up by the full
band. A brief bridge
passage thenintroduces a
muscular second subject
which develops until the
bridge passage reappears
to lead to a repeat of
the main theme. This is
transformed to herald a
return of the opening
bars of the piece, which
now bring the work to a
celebratory close.
Golden
Winds werd geschreven
in opdracht van het
Jugendblasorchester
Schramberg uit Duitsland,
dat in 2012 zijn
vijftigjarig bestaan
vierde. Het orkest bracht
het werk in premiere
tijdens het kerstconcert
van het jubileumjaar,
onder leiding van
dirigent Andreas Hirt.De
compositie begint met een
koortsachtig, energiek
thema in het lage hout.
Dit ontvouwt zich
vervolgens tot een canon,
die uitmondt in een door
het complete orkest
uitgevoerd hoogtepunt. De
muziek wordt rustiger van
sfeer en er ontwikkelt
zich een meditatieve
passage, aanvankelijk
gespeeld door de
klarinetten, waarna een
rijk, koraalachtig thema
uitgroeit tot een
gepassioneerd tutti. Het
centralegedeelte van het
werk, een ritmisch vivo,
introduceert het
hoofdthema, eerst
zachtjes en dan
weerklinkend in het hele
orkest. Een kort fragment
leidt een krachtig tweede
motief in, waarop wordt
voortgebouwd totdat de
bridgepassage opnieuw
opduikt en ons meevoert
naar een herhaling van
het hoofdthema. Dat
ondergaat een
transformatie en kondigt
dan de terugkeer van de
openingsmaten aan,
waarmee het werk op
feestelijke wijze wordt
afgesloten.
Golden
Winds wurde zum
50-jahrigen Jubilaum des
Jugendblasorchesters
Schramberg in Auftrag
gegeben. Die Premiere
fand beim
Weihnachtskonzert
selbigen Jahres unter der
Leitung von Andreas Hirt
statt.Das Werk setzt mit
einem Thema voll
gespannter Energie in den
tiefen Holzblasern ein,
das kanonisch
weiterentwickelt wird und
sich zu einem Hohepunkt
fur das gesamte Orchester
aufbaut. Diese Stimmung
klingt ab zugunsten eines
meditativen Abschnitts,
der zunachst die
Klarinetten in den
Vordergrund ruckt und
dann ein volltonendes,
choralartiges Thema, das
zu einem
leidenschaftlichen Tutti
anschwillt. Dieses fuhrt
zum Hauptteil des
Stuckes, einem
rhythmischen Vivo, das
seinHauptthema leise
vorstellt, bevor es vom
gesamten Orchester
aufgenommen wird. Eine
kurze Uberleitung
prasentiert ein
kraftvolles zweites
Thema, das
weiterentwickelt wird bis
die Uberleitung
zuruckkehrt und die
Wiederholung des
Hauptthemas bewirkt.
Dieses verwandelt sich in
eine Ankundigung der
Eroffnungstakte, die das
Werk nun zu einem
festlichen Schluss
fuhren.
Golden
Winds est une
commande de l'Harmonie
des Jeunes de Schramberg,
en Allemagne, pour
marquer son
cinquantenaire en 2012.
L'orchestre a cree cette
piece sous la direction
d'Andreas Hirt lors de
son concert de Noel la
meme annee.La piece
s'ouvre sur un theme
nerveux et energique joue
dans le registre grave
des bois qui se developpe
en canon et s'amplifie
pour arriver a un climax
avec l'orchestre entier.
L'ambiance s'apaise pour
introduire un passage
contemplatif qui met en
avant d'abord les
clarinettes, puis un
theme opulent en forme de
choral qui se transforme
en un tutti ardent.
Celui-ci mene au corps de
la piece, un vivo rythme
qui introduit doucement
son themeprincipal avant
une reprise par
l'orchestre entier. Un
court passage de
transition introduit
alors un second sujet
muscle qui se developpe
jusqu'a la reapparition
du passage de transition
pour mener a une reprise
du theme principal. Ce
theme se transforme pour
annoncer le retour des
premieres mesures de la
piece, qui menent a une
conclusion festive.
Composed by
Larry Clark. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
12+12+6+12+24+24+6+4+6+6+
6+6+8+8+8+4+4+6+6+6+8+2+1
+6+2+4+10+32+4 pages.
Duration 6 minutes, 9
seconds. Carl Fischer
Music #CPS225. Published
by Carl Fischer Music
(CF.CPS225).
ISBN
9781491152515. UPC:
680160910014.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Legend of Starved Rock Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Grade 3.5 SKU: CL.012-2760-01 Composed by Sheldon. Concert Band. Heritage...(+)
Grade 3.5
SKU:
CL.012-2760-01
Composed by Sheldon.
Concert Band. Heritage of
the March Series. Audio
recording available
separately (items
CL.WFR185 & CL.WFR315).
Extra full score.
Composed 1996. Duration 5
minutes, 10 seconds. Opus
III Wind Orchestra
Publications
#012-2760-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-2760-01).
An outstanding
composition begins as a
tone poem depicting the
Illinois River and the
peaceful Indian tribes
that lived in the area.
The tempo of the music
quickens as the tribe
seeks refuge from their
enemies and then the
piece reaches it’s
climax at the peak of the
battle. The music
subsides as the ill-fated
Indians are finally
starved into defeat.
About Heritage
of the
March
Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style