By John Latouche, music by Jerome Moross. For Piano/Vocal/Chords. This edition: ...(+)
By John Latouche, music
by Jerome Moross. For
Piano/Vocal/Chords. This
edition:
Piano/Vocal/Chords. Shows
and Movies. Broadway.
Book. 538 pages.
Published by Alfred Music
Publishing
Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics, chord
names and guitar chord
chart. Gospel and
worship. Series: Hal
Leonard Fake Books. 295
pages. 9x12 inches.
Published by Hal Leonard.
The Binding of the Wolf Ensemble de cuivres [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Brass Band - Grade 4 SKU: BT.GOB-000149-030 Composed by Torstein Aagaard-...(+)
Brass Band - Grade 4
SKU:
BT.GOB-000149-030
Composed by Torstein
Aagaard-Nilsen. Set
(Score & Parts). 58
pages. Gobelin Music
Publications #GOB
000149-030. Published by
Gobelin Music
Publications
(BT.GOB-000149-030).
This piece was
commissioned by
Nordhordland Brass
Seminar in 1990 and
written for a youth
band.
The title
referes to a story from
norse mythology.
“The Binding of the
Wolf” is not a
programmatic piece of
music, but I felt that
there was a kind of
coherence between the
music and the dramatic
story:
“...The
wolf Fenrir was one of
the demonic offspring of
Loki, and as he grew up
in Asgard among the gods,
he became so huge and
fierce that only Tyr was
willing to feed him. It
was decided that he must
be bound, and Odin in his
wisdom caused the cunning
dwarfs to forge a chain
which could not be
broken. It was made
from the invisible and
yet potent powers ofthe
world, such as the roots
of a mountain, the noise
of a moving cat, the
breath of a fish.
When completed, this
chain seemed to be no
more than a silken cord,
but the wolf refused to
let it be laid upon him
unless one of the gods
would put a hand between
his jaws as a pledge that
it was harmless. Only
Tyr was prepared to do
this, and when the wolf
found that the chain was
unbreakable, the gods
rejoiced, but Tyr lost
his hand. The binding
of the wolf may be seen
as a means of protecting
the world of men, as well
as that of the gods, from
destruction. The
story of the god losing
his hand appears to be
one of the fundamental
myths of nothern
Europe...”.
Eloise Fanfare [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Fanfare Band - Grade 4 SKU: BT.AMP-149-020 Composed by Paul Ryan. Arrange...(+)
Fanfare Band - Grade 4
SKU:
BT.AMP-149-020
Composed by Paul Ryan.
Arranged by Philip
Sparke. Anglo Music
Midway Series. Pop &
Rock. Set (Score &
Parts). Composed 2006.
Anglo Music Press #AMP
149-020. Published by
Anglo Music Press
(BT.AMP-149-020).
9x12
inches.
English-German-French-Dut
ch.
Paul and Barry
Ryan were identical twin
sons of 1950’s pop
singer Marion Ryan and
were born on 24th October
1948. They were groomed
for stardom and had
started singing as a duo
before their fifteenth
birthday. They were
signed by Decca in 1965
and brilliantly marketed
as clean-cut fashion
icons. Their first single
‘Don’t Bring
Me Your
Heartaches’
reached the UK top twenty
but their success as twin
performers lasted only
three years. In 1968
Barry embarked on a solo
career while Paul
concentrated on writing
and producing. Eloise
with its melodramatic
vocal style and heavily
orchestrated backing was
an early success of this
new collaboration and
went on to be covered by
a variety ofartists,
including punk legends
The Damned.
De
eeneiige tweelingbroers
Paul en Barry Ryan
vormden al een zangduo
voor hun vijftiende
verjaardag. In 1965
tekenden ze een contract
bij Decca en werden ze op
een briljante manier voor
het voetlicht gebracht
als keurige
mode-idolen,maar hun
succes als
tweelingartiesten duurde
slechts drie jaar. In
1968 begon Barry aan een
solocarrière terwijl
Paul zich concentreerde
op het schrijver- en
producerschap.
Eloise, een stevig
georkestreerd,
melodramatischgezongen
nummer, was een vroege en
succesvolle vrucht van
deze samenwerking. De
song werd in de loop der
tijd vertolkt door
diverse
artiesten.
Paul
und Barry Ryan waren die
Zwillingssöhne der
50er-Jahre-Popsängerin
Marion Ryan. Den beiden
Brüdern war eine
Zukunft als Popstars in
die Wiege gelegt. Bereits
vor ihrem 15. Geburtstag
traten sie als Duo auf.
Später verlegte sich
Paul jedoch aufs
Songschreiben und Barry
trat solo auf. Der Hit
Eloise mit seinem
melodramatischen
Gesangsstil und dem stark
orchestrierten
Hintergrund ist ein
Resultat dieser
erfolgreichen
Zusammenarbeit und wurde
in der Folge von
zahlreichen Künstlern
neu interpretiert. Philip
Sparke machte den
Pop-Evergreen nun auch
für Blasorchester
spielbar.
Figli
gemelli di Marion Ryan,
celebre cantante pop
degli anni ’50,
Paul e Barry Ryan si
esibivano insieme gi
prima di aver compiuto
quindici anni.Nel 1965
firmano un contratto con
la casa discografica
Decca e commercializzano
con successo la loro
immagine di icone della
moda. Il primo single
entra nelle top 20
britanniche. Nel 1968,
Barry si lancia nella
carriera di solista,
mentre Paul si concentra
sulla composizione e la
produzione.
Eloise, una
canzone dallo stile
vocale melodrammatico che
si sviluppa su un
importante
accompagnamento
orchestrale, è uno dei
primi successi della
collaborazione tra i due
fratelli.
Klaviersuite Piano seul [Conducteur] - Intermédiaire Furore Verlag
Piano - Level 3 SKU: FV.FUE-10077 Composed by Barbara Heller. Edited by S...(+)
Piano - Level 3
SKU:
FV.FUE-10077
Composed
by Barbara Heller. Edited
by Sontraud Speidel.
Sound Research of Women
Composers: Contemporary
Music C186. Sound
Research of Women
Composers: Contemporary
Music C186. Contemporary.
Score. Duration 13'.
Furore Verlag #FUE 10077.
Published by Furore
Verlag (FV.FUE-10077).
ISBN
979-0-50182-077-1.
Within this work Heller
already establishes
herself as a composer who
possesses and
demonstrates a clear
sense of form, as well as
a feel for creating arcs
of tension and contrasts.
The work is pianistically
challenging, even though
it fits the hands well.
It requires, in
particular, careful
listening with regard to
the structures and
harmonic sequences. This
thoroughly entertaining
piece of music is set to
benefit both
up-and-coming musicians
and concert pianists, and
deserves to be included
in the standard
repertoire. The piano
suite composed in 1956 by
the 20 year-old Barbara
Heller is a major
accomplishment. Within
this work Heller already
establishes herself as a
composer who possesses
and demonstrates a clear
sense of form, as well as
a feel for creating arcs
of tension and contrasts.
Stylistically, the work
belongs to the moderate
modernist trend, which
arose sometime after
Hindemith. However, this
piano suite has charms of
its own; at times it is
the emphatic shaping of
phrases, which bring
about moments of
dissonance and
occasionally, it is the
harsh and unwilling
gestures. The charm of
this piece also lies
within its deep-rooted
earnestness and its
frequent seasoning of
humour.
Guitar SKU: FG.55011-324-4 Composed by Kai Nieminen. Fennica Gehrman #550...(+)
Guitar
SKU:
FG.55011-324-4
Composed by Kai Nieminen.
Fennica Gehrman
#55011-324-4. Published
by Fennica Gehrman
(FG.55011-324-4).
ISBN
9790550113244.
Quad
ri Morandi (2014) ties
together two essential
themes of Kai Niminen's
(b. 1953) compositional
style: guitar and a
subject inspired by
Italy. The strong
presence of the guitar in
his works is natural
since he is in an
actively performing
guitarist himself, and
guitar works indeed play
a significant role in his
oeuvre. Moreover, he has
written plenty of
orchestral music; for
instance two symphonies,
numerous concertos, and
chamber music. In the
field of Finnish music he
is a composer who can be
characterized as free
from any specific school
or style. In his musical
language, free tonal in
essence, one can detect
traces of Impressionism,
Neoromanticism and even
Expressionism at times,
but he is also willing to
employ more recent
20th-century stylistic
devices. Nieminen has
mentioned that he finds
himself very similar to
Japanese Toru Takemitsu
both musically and in
thought.
Mediterannean culture and
Italy especially have
been close to Nieminen's
heart ever since he first
visited the country and
appeared in the jury of
the international
Fernando Sor guitar
competition in 1981. He
has composed a great
number of works which
refer to Italian
landscapes or artists.
The work Quadri Morandi
(Morandi's pictures) is
written in four
movements. It has at its
centre the painter
Giorgio Morandi
(1890-1964), who is known
as a master of still
lifes and landscapes
painted in a plain manner
and is subdued colours.
Their atmosphere
typically reflects a calm
spirit. This is the third
guitar work that nieminen
has written for Kleemola.
It is easy to
find a counterpart for
the encaptivating realm
of Morandi's art in
Nieminen's clear and pure
expression. The titles
and expression markings
also include several
references to Morandi.
For example, in the
opening movement Prelude
the words la Natura morta
(still life) appear as an
additional note on the
chord sequence following
the freely flowing
opening section. At the
end of the movement one
can hear rhythmic motif
coloured with flageolets
that repeats the
syllables of the
painter's name: Gior-gio
Moran-di. A similar motif
can be heard at the end
of the second movement
Quasi cadenza. The
tranquilly breathing
third movement Paesaggio
(landscape) creates an
illusion of landscape by
imitating the echo of
monastery bells (come
campane del monastero)
and at the same time
refers to il monaco (the
monk), the name by which
Morandi was often called.
The final movement
Ritratto (Portrait) is
the most extensive of all
the movements and can be
seen, with its recurring
motifs, as a reflection
of the stable yet subtly
varying elements of
Morandi's art. The work
ends with the rhythmic
motif that once more
echoes Morandi's name,
like signature.
Piano; Piano/Keyboard SKU: HL.49006525 Piano. Composed by Jean Fra...(+)
Piano; Piano/Keyboard
SKU: HL.49006525
Piano. Composed by
Jean Franç and aix.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Composed 1975.
20 pages. Duration 9'.
Schott Music #ED6665.
Published by Schott Music
(HL.49006525).
ISBN
9790001070829. UPC:
073999791938.
9.0x12.0x0.076
inches.
For Piano, 4-hands. By Antonin Dvorak. Edited by Doege. For piano duet (1 piano,...(+)
For Piano, 4-hands. By
Antonin Dvorak. Edited by
Doege. For piano duet (1
piano, 4-hands). This
edition: HN822. Piano,
4-hands, Piano Duets.
Henle Music Folios.
Urtext edition
(Paper-bound). 72 pages.
Published by Henle Urtext
Edition.
Composed
by Felix Bartholdy
Mendelssohn. Edited by
Pietro Zappala. This
edition: urtext.
Stuttgart Urtext Edition:
Mendelssohn. Innovative
practice aids, Sacred
vocal music, Mass
sections, Christmas.
Study score. Composed
1821/22. MWV A 1.
Duration 21 minutes.
Carus Verlag #CV
40.483/07. Published by
Carus Verlag
(CA.4048307).
ISBN
9790007092597. Key: E
flat major. Language:
Latin.
The Gloria,
composed in early 1822 at
the age of 13, is
Mendelssohn's first
creative venture in the
field of church music on
a larger scale. It is a
direct result of his
composition studies under
the director of the
Berlin Singakademie Carl
Friedrich Zelter, but was
no longer wholly a
student work because the
young composer hoped that
Zelter would provide him
with an opportunity to
perform this work with
the Singakademie. The
enthusiasm for Handel and
Bach which was sustained
by the performances at
the Singakademie
influenced Mendelssohn's
early creative style. In
the Gloria Mendelssohn
sought to emulate the
model of the large-scale
baroque cantata. The
concluding fugue, the
mysterious Qui tollis and
lyrical solos ensembles
in the place of solo
arias give testimony to
Mendelssohn's great
talent and willingness to
experiment. Score
available separately -
see item CA.4048300.
Orchestra SKU: HL.51489062 Study Score. Composed by Franz Joseph H...(+)
Orchestra
SKU:
HL.51489062
Study
Score. Composed by
Franz Joseph Haydn.
Edited by Robert v. Zahn.
Henle Music Folios.
Classical. Softcover. 66
pages. G. Henle #HN9062.
Published by G. Henle
(HL.51489062).
UPC:
840126951950.
6.75x9.5x0.263
inches.
The twelve
“London
Symphoniesâ€
comprise the sublime
final statement of
Haydn's symphonic oeuvre.
They were written for the
London impresario Johann
Peter Salomon, and Haydn
himself conducted their
premieres during his
lengthy stays in the
English metropolis in
1791/92 and 1794/95. To
this day, the G-major
symphony, first performed
in March 1792, numbers
among Haydn's most
popular works. It owes
its English nickname
“Surprise†to
the striking tutti chords
in the Andante, which
apparently caught the
audience off guard. Haydn
had consciously
incorporated this effect
at a later stage - and
was thus subsequently
also perfectly willing to
authorize this nickname
that had been dreamt up
by a London musician.
This popular work also
spread rapidly through
German-speaking
countries, where it is
still firmly established
in the repertoire as the
“symphony with the
drumbeat.†This
study edition adopts the
musical text of the Haydn
Complete Edition, thereby
guaranteeing the highest
scholarly quality. An
informative preface and a
brief Critical Report
make the handy score an
ideal companion for all
current and soon-to-be
Haydn fans.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Praise
Gathering Choral.
Patriotic. Softcover. 168
pages. PraiseGathering
#A08422. Published by
PraiseGathering
(HL.2050272).
UPC:
797242184192.
6.75x10.5x0.402
inches.
America -
The sweet land of
liberty: Home to a people
who long to experience
life to the fullest; home
to a people willing to
offer and endure what
freedom demands. In the
aftermath of the
senseless and appalling
terrorist attacks on
Oklahoma City, New York
City and Washington D.C.,
we are once again
reminded that just as the
benefits of freedom touch
all of our lives, so does
the cost. As valiant as
our efforts are to defend
all that we hold dear, we
are now more aware than
ever, that it takes
Divine intervention to
give us the wisdom and
the courage to protect
all that we hold sacred.
This is a nation that
boldly proclaims her
trust in God. We are
sustained in the present
and assured of the future
by the proof of the past.
God has blessed America;
God does watch over His
children; God will lead
His people. We hold to
this truth: the temporal
and vulnerable will soon
give way to the Immortal
and Invincible... There
is a sweet land of
liberty yet to come, a
homeland that will never
be corrupted or
diminished by hatred and
fear. It is a promised
land made possible by a
just and gracious God -
the One true God: the God
of all that was, the God
of all that is, the God
of all that will be.
Great is His love; Great
is His care; Great is His
faithfulness.
Flute (Piccolo), oboe, clarinet in Bb, A and Eb, horn, bassoon and piano - diffi...(+)
Flute (Piccolo), oboe,
clarinet in Bb, A and Eb,
horn, bassoon and piano -
difficult
SKU:
HL.49018092
For
wind quintet and
piano. Composed by
Benjamin Schweitzer. This
edition: Saddle
stitching. Sheet music.
Woodwind Ensemble.
Benjamin Schweitzer
prasentiert sein erstes
Werk fur diese Formation.
Experimentierfreudig
erweitert er den
typischen Charakter der
Blaser um den Klang des
Klaviers. Das Werk
gliedert sich in zwei
Satze, jeder Satz in
mehrere Teile.
Komplex-verflochtene P.
Score and parts. Composed
2001-2002/2008. 132
pages. Duration 8'.
Schott Music #ED20623.
Published by Schott Music
(HL.49018092).
ISBN
9790001158459. UPC:
884088679071.
9.25x12.0x0.365
inches.
Benjamin
Schweitzer presents his
first work for this
combination. Willing to
try out something new, he
adds to the typical
character of the wind
instruments the sound of
the piano. The work is
made up of two movements,
each movement of several
parts. Complex interwoven
passages are set against
stringently composed
sections.The composer
says of his piece: 'the
combination of shortness
and an ease of attitude
with the complexity of a
major chamber music work
relates, in a certain
way, the piece to the
late works of Elliott
Carter.'.