More March Melodies for Solo Instruments and Play-Along CD with Concert Band (Fl...(+)
More March Melodies for
Solo Instruments and
Play-Along CD with
Concert Band (Flute
Book). By Henry Fillmore;
John Philip Sousa;
Kenneth J. Alford; Zo
Elliott. Arranged by
Larry Clark. For Flute.
Score and Audio CD. 16
pages. Published by Carl
Fischer.
Voice SKU: CA.1282503 A Circus Musical for all kids under 100. Com...(+)
Voice
SKU:
CA.1282503
A
Circus Musical for all
kids under 100.
Composed by Peter
Schindler. Carus book
series: More music books.
Circus Allegro (Engl).
Musicals for children,
Songs for children,
Secular choral music.
Vocal score. 64 pages.
Duration 70 minutes.
Carus Verlag #CV
12.825/03. Published by
Carus Verlag
(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.
By Denes Agay (Editor). For Piano. Published by Music Sales. Ideal for the y...(+)
By Denes Agay (Editor).
For Piano. Published by
Music Sales.
Ideal for the young
Pianist. Includes Birds
in the Morning, Having
Fun, Little March,
Interplay, Parade of the
Clowns, Here Comes the
Circus, Monkey Dance and
many more!
Band Concert Band - Grade 2 SKU: CF.YPS200 Composed by Matthew R. Putnam....(+)
Band Concert Band - Grade
2
SKU: CF.YPS200
Composed by Matthew R.
Putnam. Young Band (YPS).
Set of Score and Parts.
With Standard notation.
8+2+4+2+2+5+2+2+4+4+6+3+3
+2+1+3+16+4+4+2+2 pages.
Duration 2:15. Carl
Fischer Music #YPS200.
Published by Carl Fischer
Music (CF.YPS200).
ISBN 9781491152201.
UPC: 680160909704. Key: D
minor.
Band Concert Band - Grade 2 SKU: CF.YPS200F Composed by Matthew R. Putnam...(+)
Band Concert Band - Grade
2
SKU: CF.YPS200F
Composed by Matthew R.
Putnam. Young Band (YPS).
Full score. With Standard
notation. 16 pages. Carl
Fischer Music #YPS200F.
Published by Carl Fischer
Music (CF.YPS200F).
Piano - Elementary SKU: FJ.FJH2301 1. Composed by Timothy Brown. P...(+)
Piano - Elementary
SKU: FJ.FJH2301
1. Composed by
Timothy Brown. Piano
Collection; Piano
Supplemental; Technique
Musicianship. New Etudes.
Christmas. Book. The FJH
Music Company Inc
#98-FJH2301. Published by
The FJH Music Company Inc
(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.
For Solo Instruments and Play-Along CD with Concert Band. By Various. Arranged b...(+)
For Solo Instruments and
Play-Along CD with
Concert Band. By Various.
Arranged by Larry Clark.
For Alto Saxophone. This
edition: Alto Saxophone
in Eb. Playing With The
Band. Premiered March
performances by the
Northern Arizona
University Wind Symphony.
Daniel Schmidt,
Conductor. Score and
Audio CD. 16 pages.
Published by Carl
Fischer.
Concert band - Grade 2 SKU: DH.DP200107-SC Composed by Weidt. Arranged by...(+)
Concert band - Grade 2
SKU:
DH.DP200107-SC
Composed by Weidt.
Arranged by Contorno.
Score. Duration 1 minute,
42 seconds. Published by
Daehn Publications
(DH.DP200107-SC).
What could be
more fun than a march
from the Roaring Twenties
called 'Pink Lemonade'?
(A piece originally
written for banjo!) Treat
your players and audience
to band music of a bygone
era-music to accompany
acrobats, wild animals
and clowns!
For 2
trumpets and
orchestra. Composed
by Iain Hamilton.
Contemporary. Study
Score. With Standard
notation. Composed 1969.
74 pages. Duration 15
minutes. Theodore Presser
Company #416-41090.
Published by Theodore
Presser Company
(PR.416410900).
(More March Melodies - for Solo Instruments and Play-Along CD with Concert Band ...(+)
(More March Melodies -
for Solo Instruments and
Play-Along CD with
Concert Band (Trombone)).
By Zo Elliott Kenneth J.
Alford. Arranged by Larry
Clark. For Tenor. Score
and audio CD. Standard
notation. 16 pages.
Published by Carl Fischer
High
Wire Act for
Orchestra. Composed
by Michael Boyman. Study
Score. With Standard
notation. Duration 8
minutes. Merion Music
#446-41340. Published by
Merion Music
(PR.446413400).
UPC:
680160667406. 9 x 12
inches.
Tightrope
Walker is my first piece
for full orchestra. Given
the large forces
available to me, I wanted
to write something
exciting, colorful and
visceral. I remembered
back to when I was a kid
going to see the Cirque
du Soleil. That trip made
a big impression on me,
especially the high wire
performers. These were
artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking one's
life to entertain an
audience has stayed with
me, and Tightrope Walker
is my attempt at
recreating that special
childhood experience. The
opening of the piece
hints at what's to come -
a steady, walking pulse
interrupted by missteps
in the woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes tense.
The primary themes of the
piece are presented in
fragments, most notably
the Tightrope Walker's
theme in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is restored.
We are now at the circus,
excited and expectant,
and the fragmentary
themes heard previously
are now presented in
their full forms. The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second half
of the piece depicts the
Tightrope Walker
performing for his
audience. But from the
outset, as in the
beginning of the piece,
we hear there are
problems. The pressure
mounts, the audience
clamoring for more, until
Tightrope Walker comes to
a decisive and
potentially fatal
end. Tightrope
Walker is my first
piece for full
orchestra. Given the
large forces available to
me, I wanted to write
something exciting,
colorful and
visceral. I
remembered back to when I
was a kid going to see
the Cirque du Soleil.Â
That trip made a big
impression on me,
especially the high wire
performers. These
were artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking
one’s life to
entertain an audience has
stayed with me,
and Tightrope
Walker is my attempt
at recreating that
special childhood
experience.The opening of
the piece hints at what's
to come - a steady,
walking pulse interrupted
by missteps in the
woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes
tense. The primary
themes of the piece are
presented in fragments,
most notably the
Tightrope Walker's theme
in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is
restored.We are now at
the circus, excited and
expectant, and the
fragmentary themes heard
previously are now
presented in their full
forms. Â The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second
half of the piece depicts
the Tightrope Walker
performing for his
audience. But from
the outset, as in the
beginning of the piece,
we hear there are
problems. The
pressure mounts, the
audience clamoring for
more, until Tightrope
Walker comes to a
decisive and potentially
fatal end.
High
Wire Act for
Orchestra. Composed
by Michael Boyman. Large
Score. With Standard
notation. Duration 8
minutes. Merion Music
#446-41340L. Published by
Merion Music
(PR.44641340L).
UPC:
680160667413. 11 x 17
inches.
Tightrope
Walker is my first piece
for full orchestra. Given
the large forces
available to me, I wanted
to write something
exciting, colorful and
visceral. I remembered
back to when I was a kid
going to see the Cirque
du Soleil. That trip made
a big impression on me,
especially the high wire
performers. These were
artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking one's
life to entertain an
audience has stayed with
me, and Tightrope Walker
is my attempt at
recreating that special
childhood experience. The
opening of the piece
hints at what's to come -
a steady, walking pulse
interrupted by missteps
in the woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes tense.
The primary themes of the
piece are presented in
fragments, most notably
the Tightrope Walker's
theme in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is restored.
We are now at the circus,
excited and expectant,
and the fragmentary
themes heard previously
are now presented in
their full forms. The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second half
of the piece depicts the
Tightrope Walker
performing for his
audience. But from the
outset, as in the
beginning of the piece,
we hear there are
problems. The pressure
mounts, the audience
clamoring for more, until
Tightrope Walker comes to
a decisive and
potentially fatal
end. Tightrope
Walker is my first
piece for full
orchestra. Given the
large forces available to
me, I wanted to write
something exciting,
colorful and
visceral. I
remembered back to when I
was a kid going to see
the Cirque du Soleil.Â
That trip made a big
impression on me,
especially the high wire
performers. These
were artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking
one’s life to
entertain an audience has
stayed with me,
and Tightrope
Walker is my attempt
at recreating that
special childhood
experience.The opening of
the piece hints at what's
to come - a steady,
walking pulse interrupted
by missteps in the
woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes
tense. The primary
themes of the piece are
presented in fragments,
most notably the
Tightrope Walker's theme
in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is
restored.We are now at
the circus, excited and
expectant, and the
fragmentary themes heard
previously are now
presented in their full
forms. Â The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second
half of the piece depicts
the Tightrope Walker
performing for his
audience. But from
the outset, as in the
beginning of the piece,
we hear there are
problems. The
pressure mounts, the
audience clamoring for
more, until Tightrope
Walker comes to a
decisive and potentially
fatal end.
Invictus Orchestre d'harmonie [Conducteur] - Intermédiaire Opus III Wind Orchestra Publications
Concert band - Grade 4 SKU: CL.012-4600-75 March. Composed by King...(+)
Concert band - Grade 4
SKU:
CL.012-4600-75
March. Composed by
King. Arranged by Glover.
Concert Band. Karl L.
King Centennial. Audio
recording available
separately (item
CL.WFR391). March.
Oversized, spiral-bound
score. Composed 2017.
Duration 2 minutes, 30
seconds. Opus III Wind
Orchestra Publications
#012-4600-75. Published
by Opus III Wind
Orchestra Publications
(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!
Invictus Orchestre d'harmonie [Conducteur et Parties séparées] C.L. Barnhouse
March. Composed by Karl L. King. Arranged by Andrew Glover. Karl L. King ...(+)
March. Composed by
Karl L. King. Arranged by
Andrew Glover. Karl L.
King Centennial. Audio
recording available
separately (item
CL.WFR391). March. Score
and parts. Composed 2017.
Duration 2 minutes, 30
seconds. Published by
C.L. Barnhouse
(CL.012-4600-00).
Invictus Orchestre d'harmonie [Conducteur] - Intermédiaire Opus III Wind Orchestra Publications
Concert band - Grade 4 SKU: CL.012-4600-01 March. Composed by King...(+)
Concert band - Grade 4
SKU:
CL.012-4600-01
March. Composed by
King. Arranged by Glover.
Concert Band. Karl L.
King Centennial. Audio
recording available
separately (item
CL.WFR391). March. Extra
full score. Composed
2017. Duration 2 minutes,
30 seconds. Opus III Wind
Orchestra Publications
#012-4600-01. Published
by Opus III Wind
Orchestra Publications
(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!
Concert Band Concert Band - late intermediate SKU: RU.10302 Composed by K...(+)
Concert Band Concert Band
- late intermediate
SKU: RU.10302
Composed by Karl L. King.
Edited by Timothy Rhea.
Arranged by Edited by
Timothy Rhea.
Contest/Festival. Legacy
of the March. Score and
Parts. RBC Publications
#10302. Published by RBC
Publications (RU.10302).
9 x 12
inches.
Composed in
1913, Mystic Call was
dedicated to Charles
Duble of Jeffersonville,
Indiana, who was also a
composer of marches and
an excellent low brass
musician, having playing
trombone with a number of
circus bands during the
early part of the
twentieth century. As for
the title, it is from
Masonic ritual, with Karl
King having been very
active in the Masons and
Shrine. Like most of the
King marches composed
during this period, it
was written for circus
use and contains
exceptional parts for low
brass, requiring a great
deal of technique if
performed at true circus
tempo. The trio scoring
is somewhat more lyrical
in nature than many of
King’s marches.
By H. A. Vandercook (1864-1949). Arranged by Grauer. For concert band. Grade 3. ...(+)
By H. A. Vandercook
(1864-1949). Arranged by
Grauer. For concert band.
Grade 3. Score and set of
parts. Duration 2
minutes, 9 seconds.
Published by Daehn
Publications
Concert Band Concert Band - late intermediate SKU: RU.10302S Composed by ...(+)
Concert Band Concert Band
- late intermediate
SKU: RU.10302S
Composed by Karl L. King.
Edited by Timothy Rhea.
Arranged by Edited by
Timothy Rhea.
Contest/Festival. Legacy
of the March. Score. RBC
Publications #10302S.
Published by RBC
Publications (RU.10302S).
9 x 12
inches.
Composed in
1913, Mystic Call was
dedicated to Charles
Duble of Jeffersonville,
Indiana, who was also a
composer of marches and
an excellent low brass
musician, having playing
trombone with a number of
circus bands during the
early part of the
twentieth century. As for
the title, it is from
Masonic ritual, with Karl
King having been very
active in the Masons and
Shrine. Like most of the
King marches composed
during this period, it
was written for circus
use and contains
exceptional parts for low
brass, requiring a great
deal of technique if
performed at true circus
tempo. The trio scoring
is somewhat more lyrical
in nature than many of
King’s marches.
Orchestra Orchestra SKU: PR.416413710 For Chamber Orchestra. Compo...(+)
Orchestra Orchestra
SKU: PR.416413710
For Chamber
Orchestra. Composed
by Clint Needham.
Watkiss. Contemporary.
Full score. With Standard
notation. Composed 2008.
92 pages. Duration 21
minutes. Theodore Presser
Company #416-41371.
Published by Theodore
Presser Company
(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.
A New Musical Collection from Cirque du Soleil (Piano/Vocal/Chords). For K...(+)
A New Musical Collection
from Cirque du Soleil
(Piano/Vocal/Chords). For
Keyboard; Piano; Voice.
This
edition:
Piano/Vocal/Chords.
Book; Piano/Vocal/Chords;
Shows and Movies.
Broadway;
Pop; Pop/Rock;
Traditional.
188 pages. Published by
Alfred Music
Sweatshop Protest
Song. Composed by Ed
Kiefer. Young Band (YPS).
Set of Score and Parts.
With Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+4+2+4+4+24+4+4
pages. Duration 4
minutes, 14 seconds. Carl
Fischer Music #YPS207.
Published by Carl Fischer
Music (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 .
Composed by McKinzey.
Concert Band. Symphony
Band Series. Audio
recording available
separately (item
CL.WFR368). Extra full
score. Composed 2010.
Duration 1 minute, 56
seconds. Opus III Wind
Orchestra Publications
#012-3895-01. Published
by Opus III Wind
Orchestra Publications
(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.
Sweatshop Protest
Song. Composed by Ed
Kiefer. Young Band (YPS).
Full score. With Standard
notation. 24 pages. Carl
Fischer Music #YPS207F.
Published by Carl Fischer
Music (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 .
New music
(post-2000). Score.
Composed 2016/17/20. 12
pages. Duration 8'.
Breitkopf and Haertel #EB
9253. Published by
Breitkopf and Haertel
(BR.EB-9253).
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.
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
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.
Half Step March Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
By McKinzey. For concert band. Concert Band. Symphony Band Series. Grade 3.5. Sc...(+)
By McKinzey. For concert
band. Concert Band.
Symphony Band Series.
Grade 3.5. Score and
parts. Composed 2010.
Duration 1 minutes, 56
seconds. Published by
C.L. Barnhouse
My First Concertinos Volume 2 Flûte traversière et Piano [Conducteur et Parties séparées] - Facile Editions Marc Reift (Swiss import)
Flute & Piano or CD Play Back / Play Along - Grade 2 SKU: MA.EMR-49854 Co...(+)
Flute & Piano or CD Play
Back / Play Along - Grade
2
SKU:
MA.EMR-49854
Composed
by Bertrand Moren. Flute
& CD Playback (Play
Along). Score and parts.
Duration 19'58. Editions
Marc Reift #EMR 49854.
Published by Editions
Marc Reift
(MA.EMR-49854).
1. A Cowboy's
Life / 2. A Winter
Fantasy / 3. At The
Petshop / 4. At The
Circus / 5. Oriental
Suite.