| Fake Book Of The World's Favorite Songs - C Instruments - 4th Edition
Instruments en Do [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
(14)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Berko's Journey [Conducteur] Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143S
Composed by Stacy Garrop.
Sws. Score. 68 pages.
Duration 20 minutes.
Theodore Presser Company
#116-42143S. Published by
Theodore Presser Company
(PR.11642143S). UPC:
680160693313. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $40.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| On the Beaten Path Batterie [Partition + CD] Alfred Publishing
The Drummer's Guide to Musical Styles and the Legends Who Defined Them. By Rich ...(+)
The Drummer's Guide to
Musical Styles and the
Legends Who Defined Them.
By Rich Lackowski. For
Drum Set. Percussion -
Drum Set Method or
Collection. Instructional
Book and Examples CD. 244
pages. Published by
Alfred Publishing.
(1)$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Angel Island Passages Theodore Presser Co.
Choral Soprano I, Soprano II, Alto I, Alto II SKU: PR.312418590 For Ch...(+)
Choral Soprano I, Soprano
II, Alto I, Alto II
SKU: PR.312418590
For Children's Choir
and String Quartet.
Composed by Chen Yi. Self
Cover. Premiered by the
SFGC and Cypress String
Quartet, San Francisco
Conservatory, CA. Secular
choral. Vocal Score. With
Standard notation.
Composed 2010. 16 pages.
Duration 15 minutes.
Theodore Presser Company
#312-41859. Published by
Theodore Presser Company
(PR.312418590). UPC:
680160595785. 8.5 x 11
inches. Text by Chen
Yi. Often called
the Ellis Island of the
West, Angel Island in San
Francisco was used as an
immigration station in
the first half of the
20th century, processing
some one million Asian
immigrants. Because of
U.S. policy of the time,
many spent years on Angel
Island awaiting entry.
Recently named a National
Historical Landmark,
Angel Island and its
history is the
inspiration behind Chen
Yi's Angel Island
Passages, commissioned by
the San Francisco Girls
Chorus. Chen explores the
experiences of the
immigrants, even using
poems carved in the
walls, to express the
mood, the patient
yearning, and the
ultimate release and
embrace of a new country.
Angel Island Passages was
premiered June 4-5, 2010
by the SFGC and the
Cypress String Quartet at
the San Francisco
Conservatory. For
advanced performers.
Duration:
15'. Commissioned by
San Francisco Girls
Chorus (Executive
Director Melanie Smith),
and premiered by the SFGC
and Cypress String
Quartet on June 4, 2010,
conducted by
SFGC’s Artistic
Director Susan McMane, at
San Francisco
Conservatory, CA, the
3-movement song cycle
Angel Island Passages is
written for
children’s chorus
and string quartet, with
multimedia projection on
the walls of the concert
hall, produced by visual
artist Felicia Lowe.Â
The creative idea of this
work was initiated by Dr.
McMane, who invited me to
write the music, and sent
me the book
“Island, poetry and
history of Chinese
Immigrants on Angel
Island, 1910-1940â€,
by Him Mark Lai, Genny
Lim, and Judy Yung for
reference in 2009; also
inspired by the Angel
Island stories, and
through cooperation with
Felicia, who shared with
me her film “Carved
in Silence†and
video productions
“Chinatownâ€
and “Road to
Restorationâ€.I
named the first movement
of my work as
“1882â€, which
reflected the dark mood
under the Chinese
Exclusion Act of
1882. The collective
poems carved on the
wooden walls in Angel
Island expressed deep
emotion in sorrow and
anxiety. The music in
the second movement
“Longing†is
sad and sentimental.Â
The third movement is
called “We Are
Americaâ€, which is
ever-moving, energetic
and optimistic. The
text sung in the
beginning in Chinese
means “I am an
Americanâ€.Â
It’s sung in
Cantonese dialect, then
in Mandarin. As the
music develops, from
homophonic to polyphonic
with increasing layers,
the climax is reached
when the text is turned
to English “We Are
Americaâ€, which
symbolizes the
flourishing society with
the great contribution
from thousands of
immigrants during the
years. The music
fades out towards the
ending of the work, which
pushes the scene to a
remote picture, to look
forward to the future
peace of the world.I am
grateful to have the
opportunity to work with
such inspiring creative
artists in this project,
and hope the work is
meaningful to our new
society after the
premiere
performance.—Chen
Yi. $8.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| American Arias - Mezzo-Soprano
Voix Mezzo-Soprano [Partition + Accès audio] Boosey and Hawkes
Mezzo-Soprano with Recorded Piano Accompaniments. Composed by Various. Edited by...(+)
Mezzo-Soprano with
Recorded Piano
Accompaniments. Composed
by Various. Edited by
Philip Brunelle. Boosey
and Hawkes Voice. Play
Along. Softcover Audio
Online. 144 pages. Boosey
and Hawkes #M051933648.
Published by Boosey and
Hawkes
$36.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| War Requiem, Op. 66 Chorale [Vocal Score] Boosey and Hawkes
By Benjamin Britten. (CHORAL SCORE). Boosey and Hawkes Large Choral. Size 6.8x1...(+)
By Benjamin Britten.
(CHORAL SCORE). Boosey
and Hawkes Large Choral.
Size 6.8x10.5 inches. 80
pages. Published by
Boosey and Hawkes.
$38.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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