I Thirst Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Promethean Editions
Chamber Music String Quartet SKU: PO.ME11 Composed by Robin Walker. Sws. ...(+)
Chamber Music String
Quartet
SKU:
PO.ME11
Composed by
Robin Walker. Sws. Full
score. Composed 1999.
Promethean Editions
#ME11. Published by
Promethean Editions
(PO.ME11).
ISBN
9780958206518.
Walk
er drew inspiration for
this short, slow movement
from I Thirst being the
the fifth of Christ's
last seven words from the
cross - cries of
dereliction and comfort
that are meditated upon
annually at Passiontide.
I Thirst is a ritual of
solo melody, homophony
and biting figuration
whose dessication is, in
due course, quenched by
waves of string
harmonics. The work's
pervading instability is
resolved with the
subduing power of melody
finally bringing
balance.
Choral (SATB) SKU: HL.1432576 Composed by Anne De Foe. National/Emerson F...(+)
Choral (SATB)
SKU:
HL.1432576
Composed
by Anne De Foe.
National/Emerson Fred
Bock. Octavo. Hal Leonard
#NM1087. Published by Hal
Leonard (HL.1432576).
UPC:
196288203278.
“Wi
ll He Remember?” for
SATB chorus and piano
begins and ends with
unresolved harmonies,
characterizing the
unanswered question of
the title. The haunting
lyricism of the text is
portrayed by De Foe's use
of close harmonies and
suspensions throughout. A
great choice for concert
and festival use.
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.144407270 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.144407270
Composed
by Sydney F. Hodkinson.
Sws. Set of Score and
Parts. 44+16+16+16+16
pages. Duration 22
minutes. Merion Music
#144-40727. Published by
Merion Music
(PR.144407270).
UPC:
680160681891. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.
Guitar - Beginning-Intermediate SKU: MB.22115M Composed by Pat Kelley. Sa...(+)
Guitar -
Beginning-Intermediate
SKU: MB.22115M
Composed by Pat Kelley.
Saddle-stitched, Style,
Technique, Theory and
Reference, Technique,
Theory, Reference and
Rhythm. USC School of
Music. Rock, blues, jazz,
method supplement. Book
and online audio. 56
pages. Mel Bay
Publications, Inc
#22115M. Published by Mel
Bay Publications, Inc
(MB.22115M).
ISBN
9780786696840. 8.75 x
11.75
inches.
Arpeggios
are chord notes played
one at a time rather than
strummed or plucked all
together. They are an
essential part of great
improvising and melody
writing because playing
chord notes in the right
places creates solid
melody lines. Chord notes
sound more resolved than
notes that are chromatic
out of the key .
Practicing arpeggios will
improve your ability to
learn melodies, make
reading music easier, and
develop your tone and
picking accuracy. The
first part of this book
focuses on the basic
fingerings of the
following six arpeggios:
major 7th, major 7th #5 ,
dominant 7th, minor 7th,
minor 7th b5 , and
diminished 7th. This book
along with its
accompanying audio
represents a
comprehensive guide to
all things arpeggio. It
delves into traditional
applications of
arpeggios, as well as how
they relate to slash
chords, modal music and
more. The student will
learn about how arpeggios
fall over standard chord
progressions, as well as
how to embellish
arpeggios to make them
more musical in
performance situations.
In standard notation and
tab. Includes access to
online audio.
With Suggested Chordal Accompaniment. Composed by Craig Duncan. Violin,Guita...(+)
With Suggested Chordal
Accompaniment. Composed
by
Craig Duncan.
Violin,Guitar:
Gospel and
Sacred,Style,Gospel/Sacre
d,Du
ets and
Ensembles,Solos,Duets
and Ensemble,Solos. 100
Hymns. Book. 120 pages.
Published by Mel Bay
Publications, Inc
String Quartet SKU: HL.14031816 Composed by Jean Joubert. Music Sales Ame...(+)
String Quartet
SKU:
HL.14031816
Composed
by Jean Joubert. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV12053901.
Published by Music Sales
(HL.14031816).
8.5x11.75x0.3
inches.
Though
conceived as four
separate movements, my
second string quartet has
a single motif which is
common to them all. This
is the three-note Muss es
sein? from Beethoven's
last quartet, Op. 135.
But whereas Beethoven's
theme is notated G E A
flat, thus giving it an F
minor connotation, I have
sued an alternative
spelling - G E G sharp -
which suggests an
ambiguous E minor-major.
This ambiguity, in fact,
becomes the tonal basis
of the whole work, only
to be resolved at the end
of the final movement.
Each movement begins with
a variant of the basic
motif on the cello. The
first has the original
form of the theme, while
the second has a
majorised version which
is also expressed as a
chord. The third
movement, with its
scherzoid middle section,
reverts to the
major-minor ambiguity of
the first, and the finale
begins with the majorised
version as an ostinato
accompaniment on
pizzicato cello. The slow
movement is sub-titled In
memoriam DSCH and
concludes with a
quotation of
Shostakovich's motto - D
E flat C B - which is
basically the same as
Beethoven's with the
addition of one note.
This is not to imply that
the work contains no
other thematic material.
One important theme, a
rising fifth and a
second, is also common to
three of the movements,
and is ultimately derived
from my first quartet,
Op. 1 of 27 years
earlier, to which this
second contribution to
the form is in many ways
like a sequel. Like the
earlier work, too, this
quartet is dedicated to
my wife.
Composed by
Geoffrey Brand. Arranged
by Geoffrey Brand. Band
Music. Score and parts.
Duration 3:00. Published
by G & M Brand Music
Publishers (CN.R10230).
Music of
enormous excitement and
expectation - marked very
animated - with brass
blazing a powerful call
against a tingling
triplet figure in
support. In Wagner's own
words - awaken the mute
lines of this score to
bright surrounding
life.
In a letter
addressed to My dear
Liszt, dated May 1852,
Richard Wagner writes: It
was you who awakened the
mute lines of this score
to bright surrounding
life. He was referring to
a performance of his
opera Lohengrin which
Franz Liszt conducted at
the Weirner Court Theatre
on August 28, 1850. The
letter was sent from
Zurich, since Wagner was
exiled from Germany at
this time. He had
completed his romantic
opera, Lohengrin, some
five years earlier but
doubted whether he would
ever hear it performed.
The action takes place in
Antwerp in the first half
of the 10th century. Elsa
and Lohengrin are to be
married and the 3rd Act
opens as they proceed in
great splendour,
accompanied by their
respective noblewomen and
noblemen, to the
cathedral. As a Prelude
to the curtain rising
Wagner unleashed music of
enormous excitement and
expectation - marked very
animated - with brass
blazing a powerful call
against a tingling
triplet figure in
support. In the opera
this magnificent Prelude
leads directly into the
Bridal Scene as Elsa and
Lohengrin make their way
solemnly to the betrothal
ceremony. Wagner achieves
this change of mood and
atmosphere most
skillfully. In arranging
the Prelude for concert
performance the challenge
was to provide an ending
which provides a
satisfactory climax to
Wagner's blaze of
instrumental colour,
without proceeding to the
solemn betrothal music.
This was resolved by
using the composer's own
mighty flourish to end
Act I of his opera. Now,
the gauntlet is thrown
down to all who perform
it to - in Wagner's own
words - awaken the mute
lines of this score to
bright surrounding
life..
Composed by Amber R. Maxwell. Arranged by Stacey Nordmeyer. Shawnee Sacred. ...(+)
Composed by Amber R.
Maxwell.
Arranged by Stacey
Nordmeyer.
Shawnee Sacred. Easter,
General Worship, Lent,
Sacred.
Octavo. Duration 250
seconds.
Published by Shawnee
Press
Piano, Vocal and Guitar SKU: HL.14019201 Composed by Caroline Hoile. Musi...(+)
Piano, Vocal and Guitar
SKU: HL.14019201
Composed by Caroline
Hoile. Musical. Music
Sales America. Musical
Education. Book
[Softcover]. Composed
2017. 28 pages. Music
Sales #GA10913. Published
by Music Sales
(HL.14019201).
ISBN
9780711941625. UPC:
884088434991. 9x12
inches. English.
It
was Christmas Eve, and
the frost air was cold
and still. The house
where the kittens lived
was snug and warm. In a
twinkling of an eye
everything changed. One
little kitten dashed out
into the night through
the unexpectedly opened
front door. The search
for the lost kitten takes
us outside, where we
encounter sneaky jumping
mice, howling alley cats,
snuffling hedgehogs and
quacking ducks. In the
end, all is happily
resolved! Opportunities
for mime, movement and
dance. Duration: 25 mins.
Script available in
student book. If you need
to license a school/youth
theatre performance of
this product, please use
the online application
form.
Vocal and Piano SKU: HL.14019200 Composed by Caroline Hoile. Music Sales ...(+)
Vocal and Piano
SKU:
HL.14019200
Composed
by Caroline Hoile. Music
Sales America. Christmas.
Cassette. Composed 2015.
Golden Apple Productions
#GA10925. Published by
Golden Apple Productions
(HL.14019200).
UPC:
884088435592. 2.75x4.25
inches. English.
It
was Christmas Eve, and
the frost air was cold
and still. The house
where the kittens lived
was snug and warm. In a
twinkling of an eye
everything changed. One
little kitten dashed out
into the night through
the unexpectedly opened
front door. The search
for the lost kitten takes
us outside, where we
encounter sneaky jumping
mice, howling alley cats,
snuffling hedgehogs and
quacking ducks. In the
end, all is happily
resolved! Opportunities
for mime, movement and
dance. If you need to
license a school/youth
theatre performance of
this product, please use
the online application
form.
Autumn Rains Orchestre d'harmonie [Conducteur] - Facile Belwin
Concert Band - Grade 2 SKU: AP.46620S For Lauren. Composed by Patr...(+)
Concert Band - Grade 2
SKU: AP.46620S
For Lauren.
Composed by Patrick
Roszell. Concert Band;
Performance Music
Ensemble; Single Titles.
Belwin Young Band. Fall;
Thanksgiving. Score. 12
pages. Duration 3:15.
Belwin Music #00-46620S.
Published by Belwin Music
(AP.46620S).
UPC:
038081539126.
English.
Inspired
by a quiet afternoon
storm as the leaves
change and the
temperature drops. With
special rain effects and
subtle dissonances
gracefully resolved, this
original work is
technically accessible,
but musically
impassioned. Close your
eyes and enjoy the
refreshing sounds of
Autumn Rains.
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.
Composed by
Geoffrey Brand. Arranged
by Geoffrey Brand. Band
Music. Score only.
Duration 3:00. Published
by G & M Brand Music
Publishers (CN.S11230).
Music of
enormous excitement and
expectation - marked very
animated - with brass
blazing a powerful call
against a tingling
triplet figure in
support. In Wagner's own
words - awaken the mute
lines of this score to
bright surrounding
life.
In a letter
addressed to My dear
Liszt, dated May 1852,
Richard Wagner writes: It
was you who awakened the
mute lines of this score
to bright surrounding
life. He was referring to
a performance of his
opera Lohengrin which
Franz Liszt conducted at
the Weirner Court Theatre
on August 28, 1850. The
letter was sent from
Zurich, since Wagner was
exiled from Germany at
this time. He had
completed his romantic
opera, Lohengrin, some
five years earlier but
doubted whether he would
ever hear it performed.
The action takes place in
Antwerp in the first half
of the 10th century. Elsa
and Lohengrin are to be
married and the 3rd Act
opens as they proceed in
great splendour,
accompanied by their
respective noblewomen and
noblemen, to the
cathedral. As a Prelude
to the curtain rising
Wagner unleashed music of
enormous excitement and
expectation - marked very
animated - with brass
blazing a powerful call
against a tingling
triplet figure in
support. In the opera
this magnificent Prelude
leads directly into the
Bridal Scene as Elsa and
Lohengrin make their way
solemnly to the betrothal
ceremony. Wagner achieves
this change of mood and
atmosphere most
skillfully. In arranging
the Prelude for concert
performance the challenge
was to provide an ending
which provides a
satisfactory climax to
Wagner's blaze of
instrumental colour,
without proceeding to the
solemn betrothal music.
This was resolved by
using the composer's own
mighty flourish to end
Act I of his opera. Now,
the gauntlet is thrown
down to all who perform
it to - in Wagner's own
words - awaken the mute
lines of this score to
bright surrounding
life..
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.
Choral (Audio Sampler) SKU: HL.275518 Audio Sampler. Composed by J...(+)
Choral (Audio Sampler)
SKU: HL.275518
Audio Sampler.
Composed by John Caird
and Stephen Schwartz.
Recorded Promo -
Stockable. Broadway,
Children, Musicals.
Softcover with CD.
Published by Hal Leonard
(HL.275518).
UPC:
888680744564. 9x12
inches.
From
musical theatre greats,
Stephen Schwartz and John
Caird, comes a joyous and
inspirational musical
about parents, children
and faith...not to
mention centuries of
unresolved family
business! An expansive
musical, Children of
Eden Jr. has plenty
of roles and life lessons
for everyone.
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Merion Music
Chamber Music String Quartet SKU: PR.14440727S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440727S
Composed
by Sydney F. Hodkinson.
Sws. Full score. 44
pages. Duration 22
minutes. Merion Music
#144-40727S. Published by
Merion Music
(PR.14440727S).
UPC:
680160681907. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.
Te Deum Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Clavier [Conducteur et Parties séparées] Carus Verlag
Soli SATB, Coro SATB, 2 Pfte, Timp ad lib SKU: CA.2719046 Arrangement ...(+)
Soli SATB, Coro SATB, 2
Pfte, Timp ad lib
SKU:
CA.2719046
Arrangement for soli,
choir, 2 pianos and
timpani ad lib (arr. S.
Bartmann). Composed
by Anton Bruckner.
Arranged by Sebastian
Bartmann. Set of
Orchestra Parts. WAB 45.
Duration 25 minutes.
Carus Verlag #2719046.
Published by Carus Verlag
(CA.2719046).
ISBN
9790007310875.
Latin.
In the 19th
and early 20th centuries,
transcriptions of large
(choral) symphonic works
for two pianos were
extremely popular: They
enabled a large audience
to get to know classical
compositions in an age
before recorded music. In
many cases, world-famous
works were first
performed in such a
version â?? including
Brucknerâ??s Te Deum.
Unfortunately, only a few
bars of this
transcription have
survived.The
Stuttgart composer,
pianist and experienced
piano-duo performer
Sebastian Bartmann was
commissioned by the
Landesakademie für die
musizierende Jugend in
Baden-Württemberg
Ochsenhausen to newly
arrange Brucknerâ??s Te
Deum and the Mass in D
minor for soloists, choir
and two pianos. A timpani
part (ad libitum)
provides additional
color. The arrangements
are based on the original
Carus editions. The vocal
scores and choral scores
of the original version
can also be
used.Today the Te
Deum is Brucknerâ??s
most frequently performed
vocal work. The greatest
challenges for any choir
are the high register and
the enormous
orchestration of this
extremely effective
piece: The singers are
often required to declaim
against a large orchestra
performing forte
fortissimo! This problem
is resolved in the
arrangement for two
pianos; moreover, the
scaling back of the sonic
forces helps reveal
compositional structures
that otherwise can all
too easily get lost in
the intoxicating
orchestral sound..
Score and parts available
separately - see item
CA.2719000.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
Reminiscence Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS106 Composed by Bill Calhoun. SWS ...(+)
Band Concert Band - Grade
2
SKU: CF.YPS106
Composed by Bill Calhoun.
SWS FS. Young Performance
Series. Set of Score and
Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+2+3+3+1+1+2+4+12 pages.
Duration 2 minutes, 47
seconds. Carl Fischer
Music #YPS106. Published
by Carl Fischer Music
(CF.YPS106).
ISBN
9780825887765. UPC:
798408087760. 9x12
inches. Key: Eb
major.
A lush and
musically expressive
ballad for band that
pulls at your heart
strings, Reminiscence is
tender and emotionally
charged with musical
tension that resolves
beautifully at the end.
Bill Calhoun has become a
composer you can trust to
write music of a very
high quality.