Fanfare Band - Grade 5

SKU: BT.GOB-000283-020

Composed by Torstein Aagaard-Nilsen. Arranged by Rob van der Zee. Set (Score & Parts). 154 pages. Gobelin Music Publications #GOB 000283-020. Published by Gobelin Music Publications (BT.GOB-000283-020).

Composed during the summer of 1988. Commissioned by The Norwegian Brass Band Club First performed in the Grieg Hall¬? at the 10th Anniversary Concert for the Norwegian Championship, Bergen, February 1989. EBML conducted by Michael Antrobus.

The work is important for me because it was my first piece to be played outside Norway. Black Dyke/David King performed it and did a recording of it in 1991.

The composer:
In the original score I quote a Swedish bishop (Olaus Mangnus) who lived in the 15th century. He travelled around Scandinavia and drew maps - very important historic material.

When he came to the north of Norway (where I come from) hedescribed the wind from the north as Ciricus: (something like) Worst of all winds is Circius, that revolves(?= turn upside down) heaven and earth. (Well, not a good translation I¬?m afraid).

The fast sections reflects the mighty winds from the north. In the middle section, I borrowed a folksong-like tune (by C. Elling, a norwegian composer).
The text (by Kristoffer Janson) tells about old times when the fishermen used open boats: they had to put their lives in the hands of God. De opening en het slot van dit werk beschrijven 'Circius' de wind die hemel en aarde verwoest.
Het middendeel is een bewerking van het Noorse volkslied 'The fisherman's speech to his son'. De inhoud van het lied komt overeen met Circius. De vader verzoekt zijn zoon de krachten van de natuur te trotseren, maar bovenal te respecteren.
Een kort doch spectaculair concertwerk dat het gehele orkest in de greep heeft.

Gobelin Music Publications.

Vocal Score. By Kurt Weill. (score). Vocal Score. Size 9x12 inches. 280 pages. Published by Chappell.

By Taylor Swift. Easy Piano Personality. Pop. Softcover. 96 pages. Published by Hal Leonard (HL.1458567). ISBN 9798350126181. UPC: 196288210597. 9.0x12.0x0.558 inches. You've memorized all the songs from the double album, now it's time to play them for yourself! Our matching folio to The Tortured Poets Department: The Anthology features all 31 tracks meticulously arranged for easy piano with lyrics. Dive into the emotional depth of Swift's music and play along with your favorite tracks from ?Fortnight? to ?The Manuscript,? to ?So Long, London? to ?So High School,? and all the others. Immerse yourself in the storytelling prowess of Taylor Swift and bring her songs to life with your own unique voice and talent! Songs include:

Fanfare Band - Grade 5

SKU: BT.GOB-000283-120

Composed by Torstein Aagaard-Nilsen. Arranged by Rob van der Zee. Score Only. 24 pages. Gobelin Music Publications #GOB 000283-120. Published by Gobelin Music Publications (BT.GOB-000283-120).

Composed during the summer of 1988. Commissioned by The Norwegian Brass Band Club First performed in the Grieg Hall¬? at the 10th Anniversary Concert for the Norwegian Championship, Bergen, February 1989. EBML conducted by Michael Antrobus.

The work is important for me because it was my first piece to be played outside Norway. Black Dyke/David King performed it and did a recording of it in 1991.

The composer:
In the original score I quote a Swedish bishop (Olaus Mangnus) who lived in the 15th century. He travelled around Scandinavia and drew maps - very important historic material.

When he came to the north of Norway (where I come from) hedescribed the wind from the north as Ciricus: (something like) Worst of all winds is Circius, that revolves(?= turn upside down) heaven and earth. (Well, not a good translation I¬?m afraid).

The fast sections reflects the mighty winds from the north. In the middle section, I borrowed a folksong-like tune (by C. Elling, a norwegian composer).
The text (by Kristoffer Janson) tells about old times when the fishermen used open boats: they had to put their lives in the hands of God. De opening en het slot van dit werk beschrijven 'Circius' de wind die hemel en aarde verwoest.
Het middendeel is een bewerking van het Noorse volkslied 'The fisherman's speech to his son'. De inhoud van het lied komt overeen met Circius. De vader verzoekt zijn zoon de krachten van de natuur te trotseren, maar bovenal te respecteren.
Een kort doch spectaculair concertwerk dat het gehele orkest in de greep heeft.

Gobelin Music Publications.

Brass Band - Grade 5

SKU: BT.GOB-000037-130

Composed by Torstein Aagaard-Nilsen. Score Only. 27 pages. Gobelin Music Publications #GOB 000037-130. Published by Gobelin Music Publications (BT.GOB-000037-130).

Composed during the summer of 1988. Commissioned by The Norwegian Brass Band Club First performed in the Grieg Hall¬? at the 10th Anniversary Concert for the Norwegian Championship, Bergen, February 1989. EBML conducted by Michael Antrobus.

The work is important for me because it was my first piece to be played outside Norway. Black Dyke/David King performed it and did a recording of it in 1991.

The composer:
In the original score I quote a Swedish bishop (Olaus Mangnus) who lived in the 15th century. He travelled around Scandinavia and drew maps - very important historic material.

When he came to the north of Norway (where I come from) hedescribed the wind from the north as Ciricus: (something like) Worst of all winds is Circius, that revolves(?= turn upside down) heaven and earth. (Well, not a good translation I¬?m afraid).

The fast sections reflects the mighty winds from the north. In the middle section, I borrowed a folksong-like tune (by C. Elling, a norwegian composer).
The text (by Kristoffer Janson) tells about old times when the fishermen used open boats: they had to put their lives in the hands of God. De opening en het slot van dit werk beschrijven 'Circius' de wind die hemel en aarde verwoest.
Het middendeel is een bewerking van het Noorse volkslied 'The fisherman's speech to his son'. De inhoud van het lied komt overeen met Circius. De vader verzoekt zijn zoon de krachten van de natuur te trotseren, maar bovenal te respecteren.
Een kort doch spectaculair concertwerk dat het gehele orkest in de greep heeft.

Gobelin Music Publications.

Score and Parts Clarinet; Piano; Viola (Score & Parts)

SKU: HL.49045889

Five pieces in fairy-tale style for Clarinet, Viola and Piano Score and Parts. Composed by Joerg Widmann. Ensemble. Classical. Softcover. 120 pages. Duration 1740 seconds. Schott Music #ED22487. Published by Schott Music (HL.49045889).

9.0x12.0x0.33 inches.

As far back as I can remember, I have always been fascinated with fairy tales: with their archetypal characters and set phrases like'Once upon a time...'and'...they all lived happily ever after'. Fairy tales were however also a source of unrest for me as a seismograph of mankinds underlying primal fears and desires. So as a performer and composer I have always felt that Robert Schumann's Marchenerzahlungen [Fairy Tales] (scored for the same instrumentation as my own composition) was a disjointed, complex contemporary work - despite the innocence and naivety of its initial appearance. I therefore do not intend my own Es war einmal (Once upon a time...)to be a mere sentimental, nostalgic flight into the distant past, but as a naive and fantastical alternative concept to our genuine world with all its upheavals. Jorg Widmann.

Brass Band - Grade 5

SKU: BT.GOB-000037-030

Composed by Torstein Aagaard-Nilsen. Concert Piece. Set (Score & Parts). 30 pages. Gobelin Music Publications #GOB 000037-030. Published by Gobelin Music Publications (BT.GOB-000037-030).

Composed during the summer of 1988. Commissioned by The Norwegian Brass Band Club First performed in the Grieg Hall¬? at the 10th Anniversary Concert for the Norwegian Championship, Bergen, February 1989. EBML conducted by Michael Antrobus.

The work is important for me because it was my first piece to be played outside Norway. Black Dyke/David King performed it and did a recording of it in 1991.

The composer:
In the original score I quote a Swedish bishop (Olaus Mangnus) who lived in the 15th century. He travelled around Scandinavia and drew maps - very important historic material.

When he came to the north of Norway (where I come from) hedescribed the wind from the north as Ciricus: (something like) Worst of all winds is Circius, that revolves(?= turn upside down) heaven and earth. (Well, not a good translation I¬?m afraid).

The fast sections reflects the mighty winds from the north. In the middle section, I borrowed a folksong-like tune (by C. Elling, a norwegian composer).
The text (by Kristoffer Janson) tells about old times when the fishermen used open boats: they had to put their lives in the hands of God. De opening en het slot van dit werk beschrijven 'Circius' de wind die hemel en aarde verwoest.
Het middendeel is een bewerking van het Noorse volkslied 'The fisherman's speech to his son'. De inhoud van het lied komt overeen met Circius. De vader verzoekt zijn zoon de krachten van de natuur te trotseren, maar bovenal te respecteren.
Een kort doch spectaculair concertwerk dat het gehele orkest in de greep heeft.

Gobelin Music Publications.

String quartet String Quartet

SKU: PR.16400272S

Cassatt. Composed by Dan Welcher. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Full score. With Standard notation. Composed 2007. WRT11142. 52 pages. Duration 24 minutes. Theodore Presser Company #164-00272S. Published by Theodore Presser Company (PR.16400272S).

UPC: 680160588442. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

By Percy Buck. Arranged by Jean Gilbert. For Nursery rhymes for ages 3-5. Song Book. Miscellaneous. 80 pages

Chamber Music Piano

SKU: PR.140401310

Composed by Nora Holt. Edited by Lara Downes. Sws. Score. 8 pages. Duration 2 minutes. Theodore Presser Company #140-40131. Published by Theodore Presser Company (PR.140401310).

ISBN 9781491134153. UPC: 680160684250. 9 x 12 inches. Key: G major.

NORA’ S DANCE is a jazz-influenced rag from 1921, and among the only surviving compositions by Nora Douglas Holt. A charming and exciting work rejuvenated by Lara Downes’ 2021 recording for the Rising Sun label, the rag is both a fun 2 minutes for pianists and audiences, and also a fascinating time capsule. Composed several years after Scott Joplin’s death, and several years before the Charleston pervaded popular music, NORA’S DANCE blossoms with the energy and jazz harmony starting to emerge as The Roaring 20’s, using ragtime and stride as the seed for pianistic style.
My own life in music has been driven by a quest to find strong female role models, trails to follow, shoulders to stand on. In Nora Douglas Holt, I find an inspiring example of creativity, independence, and resilience – with a dash of troublemaking. She was a free spirit, a force of nature, and she lived a fascinating and eventful life on her own terms. She reinvented herself through five marriages and at least as many careers. From her beginnings at the piano at age four, she explored many avenues of musical expression – performing, composing, music journalism, broadcasting, teaching – all with inventiveness, style, and zeal.She made the most of the Roaring ’20s, as an artist, socialite, jetsetter, muse, and patroness of the Harlem Renaissance. In 1921 she started an independent arts journal called “Music and Poetry,” where the charming piano solo Nora’s Dance was first published. I think the piece captures beautifully, in a little under 2 minutes, the energy and excitement of those heady years.In 1926, Nora left New York to travel the world, performing in nightclubs throughout Europe and Asia. She put her belongings in storage before she left, and when she came back she discovered that many of her things had been stolen, including more than 200 of her musical compositions. She never composed again.When the Depression hit, she moved out to Los Angeles, where she studied music education at USC, taught music in the LA public schools, and opened her own beauty salon. She returned to New York in the ’40s and worked as a music critic for several major newspapers, then launched yet another career, this time in broadcasting. Her popular radio concert series “Nora Holt’s Concert Showcase” broadcast to New York’s classical music audience, with a focus on Black composers and performers.Ahead of her time, larger than life, full of ideas…. I am so pleased to introduce you to the feisty and free spirited Nora Douglas Holt!

Brass Quintet - Advanced

SKU: CY.CC3020

Composed by John van Deursen. Arranged by John van Deursen. Classical. Score and Parts. Cherry Classics #CC3020. Published by Cherry Classics (CY.CC3020).

ISBN 9781774310601. 8.5 x 11 in inches.

About the Taiwan Fantasia, van Deursen states: After having lived in Taipei for a number of years, I learned many of the local folk and popular songs. Some of the melodies are exceptionally beautiful, and my idea was to somehow combine all the elements that have made up my musical experiences over these years - Chinese melodies, western orchestral music and jazz; I wanted to see if these songs could survive with a totally different harmonic structure and concept. My original goal was to write a simple arrangement of the two songs, but quickly I discovered more melodies building upon the original ones and thus the Variations were born. Composed in 1995, this work of about 10 minutes in length is in one continuous movement, but is divided into seven short sections of contrasting moods including two cadenzas, for Trumpet and Trombone. The music is appropriate for advanced performers. Parts in C and B-flat are supplied for the Trumpets. A recording of Taiwan Fantasia can be purchased on iTunes from the album by the Yeh Shu Han Brass Quintet.

51 Favourite Songs. By Various. Arranged by Margery Hargest Jones. (Voice and Piano). Boosey and Hawkes Voice. Size 8.25x11.75 inches. 107 pages. Published by Boosey and Hawkes.

Chamber Music String Quartet

SKU: PR.164002720

Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720).

UPC: 680160573042. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

By Ralph Hultgren. Concert Band. Brolga Music Symphonic Repertoire. Grade 5. Score and set of parts. Duration 11:10. Published by Brolga Music Publishing Company

Vocal

SKU: HL.49002762

Melody Book. Edited by Brian Brocklehurst. Arranged by Brian Brocklehurst. This edition: ED11344-01. Sheet music. Edition Schott. Classical. Melody Line. 46 pages. Schott Music #ED 11344-01. Published by Schott Music (HL.49002762).

ISBN 9790220109591. UPC: 073999327748. 5.75x8.5x0.176 inches.

Keyboard. Level: Elementary/Late Elementary (1B/2). Published by Alfred Publishing.

SATB Choir

SKU: HL.14042515

Composed by Christina Rosetti and Per Drud Nielsen. Choral. Classical. Octavo. Composed 2013. Edition Wilhelm Hansen #WH31717. Published by Edition Wilhelm Hansen (HL.14042515).

ISBN 9788759826805. English.

This collection presents five Christina Rosetti poems set by Per Drud Nielsen for unaccompanied SATB choir. Had Christina Rossetti lived 40 years earlier and not written in English but in German, I am convinced that the many Lied-composers in the first half of the 19th century would have gathered around her. And in many ways I have set her poems to music in the spirit of the Lied tradition: I have made use of simple, modified strophic forms. And if you hear a loan from a well-known Schumann-Lied in one of my Rossetti-songs, you are not mistaken. - Per Drud Nielsen.