Prairie Lullaby Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5 Composed by Joseph Comp...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS5
Composed by Joseph
Compello. SWS - FS. Carl
Fischer Beginning String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
12+8+8+5+5+5+3+2 pages.
Duration 2:30. Carl
Fischer Music #BAS5.
Published by Carl Fischer
Music (CF.BAS5).
ISBN
9780825845086. UPC:
798408045081. 8.5 X 11
inches. Key: D
major.
The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie Lullaby
should be graceful and
serene, evocative of a
peaceful night on the
open plains. To that end,
players will need to
strive for an unlabored
rhythmic flow, smooth
bowing and a clear,
steady tone as close to p
as possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If young
players are unable to
return quickly to argo at
m.53, they may make the
bow preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible.Beginning at
m.39, the violin and
viola parts are
marked pizzicato. If
young players are unable
to return quickly
to argo at m.53, they
may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and
score.The divisi no
tes at m. 69 are provided
for ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes.Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead.The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54.Performance time
with the repeat is two
and a half minutes.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
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.
Choral SATB choir, piano SKU: CF.CM9713 Composed by Jacob Narverud. 16 pa...(+)
Choral SATB choir, piano
SKU: CF.CM9713
Composed by Jacob
Narverud. 16 pages.
Duration 4:01. Carl
Fischer Music #CM9713.
Published by Carl Fischer
Music (CF.CM9713).
ISBN 9781491160084.
UPC: 680160918683. Key: G
major. English. Robert
Bode. Original.
The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering support.
Performance Notes This
lighthearted piece is a
great way to bring
multiple choirs together
in harmony. It may be
sung by a single SATB
choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs: Rehearsal Letters
A to B: Elementary choir
only (two-part, Soprano,
Alto) Rehearsal Letter B:
add Middle Level Soprano,
Alto with Elementary
choir Rehearsal Letter C:
Middle Level choir only
Rehearsal Letter D: High
School choir only
Rehearsal Letter E to the
end: Everyone! Song of
the Sound: Running on the
beach, digging in the
sand, Seaweed in my toes,
bucket in my hand. When
I'm at the shore, way
above the rest, These are
all the things that I
love the best. Skipping
like a stone on the
water, diving deep in the
silvery foam, Swimming
far where the land cannot
hold us, where the
lighthouse calls us home.
Flying free above the
marshes, soaring high
above the sea, Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing shore:
Where the gentle breezes
whisper and the mighty
breakers roar. We will
look to the shining
ocean, to the East, where
the new day dawned: We
will sing a song of the
edge of the world and the
waiting sky beyond. -Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019) About
the Composer: Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.com YouTube
& Spotify:
@jacobnarverud. The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering
support.Performance
NotesThis lighthearted
piece is a great way to
bring multiple choirs
together in harmony. It
may be sung by a single
SATB choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs:Rehearsal Letters
AÂ to B: Elementary
choir only (two-part,
Soprano, Alto)Rehearsal
Letter B: add Middle
Level Soprano, Alto with
Elementary choirRehearsal
Letter C: Middle
Level choir onlyRehearsal
Letter D: High School
choir onlyRehearsal
Letter E to the end:
Everyone!Song of the
Sound:Running on the
beach, digging in the
sand,Seaweed in my toes,
bucket in my hand.When
I'm at the shore, way
above the rest,These are
all the things that I
love the
best. Skipping like a
stone on the water,
diving deep in the
silvery foam,Swimming far
where the land cannot
hold us, where the
lighthouse calls us
home.Flying free above
the marshes, soaring high
above the sea,Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing
shore:Where the gentle
breezes whisper and the
mighty breakers roar.We
will look to the shining
ocean, to the East, where
the new day dawned:We
will sing a song of the
edge of the world and the
waiting sky beyond.-Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019)About
the Composer:Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.comÂ
YouTube & Spotify:
@jacobnarverud.
Arranged by Deborah Greenblatt. Viola Duet. For 2 violas. Tunes for Two. Classic...(+)
Arranged by Deborah
Greenblatt. Viola Duet.
For 2 violas. Tunes for
Two. Classical. Tune
book. Standard Notation.
68 pages. Published by
Greenblatt & Seay
Arranged by Deborah Greenblatt. Bass Duet. For 2 double basses. Tunes for Two. C...(+)
Arranged by Deborah
Greenblatt. Bass Duet.
For 2 double basses.
Tunes for Two. Classical.
Tune book. Standard
Notation. 68 pages.
Published by Greenblatt &
Seay
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Classic...(+)
Arranged by Deborah
Greenblatt. Cello Duet.
For 2 cellos. Tunes for
Two. Classical. Tune
book. Standard Notation.
68 pages. Published by
Greenblatt & Seay
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-340-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-340-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2012. 44 pages.
Anglo Music Press #AMP
340-140. Published by
Anglo Music Press
(BT.AMP-340-140).
9x12
inches.
English-German-French-Dut
ch.
Of Skies,
Rivers, Lakes and
Mountains was
commissioned by the
Northern California Band
Directors' Association to
honour their 50th
Anniversary in 2012. The
first performance was
given by the
Association’s 2012
Honor Band, conducted by
Dr Royce Trevis, in the
Harlen Adams Theater,
California State
University, Chico,
California, on 4th
February that year.The
brief for the commission
asked for a piece that
celebrated the United
States’ natural
resources and composer
Philip Sparke turned to
Katharine Lee
Bates’s lyrics for
the song America the
Beautiful, of which
the first and last verses
are:O beautiful for
spacious skies,For amber
waves of grain,For
purplemountain
majestiesAbove the
fruited plain!America!
America!God shed His
grace on thee,And crown
thy good with
brotherhoodFrom sea to
shining seaThe three
movements each take their
title from these
verses:1. O Beautiful
for Spacious Skies:
Opening with filigree
woodwind figuring, this
movement aims to recreate
the light and lightness
of a spring sky, birds
and blossoms floating on
gentle breezes.2. From
Sea to Shining Sea: A
vivacious celebration of
water bubbling in
streams, rivers and
lakes.3. For Purple
Mountain Majesties: A
slow final movement
representing an
awe-inspiring range of
mountains
Of
Skies, Rivers, Lakes and
Mountains is
geschreven in opdracht
van de Northern
California Band
Directors' Association,
ter gelegenheid van het
vijftigjarig jubileum van
deze organisatie, dat in
2012 werd gevierd. De
première werd op 4
februari van dat jaar
onder leiding van
dirigent Royce Trevis
uitgevoerd door de
Association’s 2012
Honor Band, in het Harlen
Adams Theater, California
State University, Chico,
Californië.De
componist kreeg het
verzoek een werk te
schrijven dat een lofzang
zou zijn op alles wat de
natuur van Verenigde
Staten te bieden heeft.
Philip Sparke gebruikte
de tekst van Katharine
Lee Bates voor de song
America the
Beautiful, waarvan
heteerste en laatste
couplet als volgt
luiden:O beautiful for
spacious skies,For amber
waves of grain,For purple
mountain majestiesAbove
the fruited
plain!America!
America!God shed His
grace on thee,And crown
thy good with
brotherhoodFrom sea to
shining seaDe titels van
de drie delen van de
compositie zijn ontleend
aan deze coupletten:1.
O Beautiful for
Spacious Skies: Dit
deel, dat opent met
verfijnde figuren in het
hout, is een poging om
het licht en de lichtheid
van een lentehemel te
herscheppen, met
vogeltjes en bloesems die
wiegen in een milde
bries.2. From Sea to
Shining Sea: Een
levendige ode aan water
dat stroomt in beken,
rivieren en meren3.
For Purple Mountain
Majesties: Een
langzaam laatste deel
waarin het beeld wordt
opgeroepen van een
indrukwekkende bergketen
Of Skies,
Rivers, Lakes and
Mountains wurde von
der Northern California
Band Director’s
Association
(Dirigentenverband
Nord-Kaliforniens) zum
50-jährigen
Jubiläum im Jahr 2012
in Auftrag gegeben. Die
Uraufführung mit dem
Ehrenorchester 2012 des
Verbands fand am 4.
Februar desselben Jahre
unter der Leitung von Dr.
Royce Trevis im Halen
Adams Theater an der
California State
University, Chico
Kalifornien) statt.Der
Kompositionsauftrag
verlangte ein Stück zu
Ehren der Reichtümer
der Natur Amerikas. Der
Komponist Philip Sparke
wählte daher die erste
und letzte Strophe aus
Katherine Lee
Bates’ Text zum
Lied America the
Beautiful, die da
lauten:O beautiful for
spaciousskies,For amber
waves of grain,For purple
mountain majestiesAbove
the fruited
plain!America!
America!God shed His
grace on thee,And crown
thy good with
brotherhoodFrom sea to
shining seaDie Titel der
drei Sätze stammen
alle aus diesen
Strophen:1. O
Beautiful for Spacious
Skies (O
wunderschön, der weite
Himmel): Mit filigranen
Figuren im Holz
beginnend, will dieser
Satz das Licht und die
Leichtigkeit des
Frühlingshimmels, die
Vögel und von einer
sanften Brise getragene
Blüten zum Leben
erwecken.2. From Sea
to Shining Sea (Vom
Meer zum strahlenden
Meer): Mit lebhafter
Musik wird hier in
Flüssen, Bächen und
Seen sprudelndes Wasser
zelebriert.3. For
Purple Mountain
Majesties (Die
Erhabenheit der purpurrot
leuchtenden Berge): Der
langsame Schlusssatz
richtet den Blick auf
ehrfurchtgebietende
Gebirge.
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library). The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!Have a look
into PB 5530. Early
modern. Set of parts. 244
pages. Duration 15'.
Breitkopf and Haertel #OB
5530-30. Published by
Breitkopf and Haertel
(BR.OB-5530-30).
ISBN
9790004340875. 10 x 12.5
inches.
After
Bolero and La Valse, a
third, often-played work
by Ravel is now entering
Breitkopf's orchestral
program, obviously in a
Breitkopf Urtext edition
that was supervised by
the Ravel expert
Jean-Francois Monnard. As
a compositional
destination around 1900,
Spain was in the air, as
is also confirmed by
Debussy's Iberia.
Monnard's incisive
preface brilliantly draws
links between the two
composers who, along with
Igor Stravinsky, were
working in Paris during
those years. The Rapsodie
espagnole qualifies above
all as a masterpiece of
Ravel's instrumental
magic. This fireworks of
orchestration demands a
reliable and purchasable
performance material that
can grace the library of
every professional
orchestra.
The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!Have a look
into PB 5530. Early
modern. Part. 12 pages.
Duration 15'. Breitkopf
and Haertel #OB 5530-16.
Published by Breitkopf
and Haertel
(BR.OB-5530-16).
ISBN
9790004340837. 10 x 12.5
inches.
After
Bolero and La Valse, a
third, often-played work
by Ravel is now entering
Breitkopf's orchestral
program, obviously in a
Breitkopf Urtext edition
that was supervised by
the Ravel expert
Jean-Francois Monnard. As
a compositional
destination around 1900,
Spain was in the air, as
is also confirmed by
Debussy's Iberia.
Monnard's incisive
preface brilliantly draws
links between the two
composers who, along with
Igor Stravinsky, were
working in Paris during
those years. The Rapsodie
espagnole qualifies above
all as a masterpiece of
Ravel's instrumental
magic. This fireworks of
orchestration demands a
reliable and purchasable
performance material that
can grace the library of
every professional
orchestra.
The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS.
Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano.
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!Have a look
into PB 5530. Early
modern. Part. 12 pages.
Duration 15'. Breitkopf
and Haertel #OB 5530-19.
Published by Breitkopf
and Haertel
(BR.OB-5530-19).
ISBN
9790004340844. 10 x 12.5
inches.
After
Bolero and La Valse, a
third, often-played work
by Ravel is now entering
Breitkopf's orchestral
program, obviously in a
Breitkopf Urtext edition
that was supervised by
the Ravel expert
Jean-Francois Monnard. As
a compositional
destination around 1900,
Spain was in the air, as
is also confirmed by
Debussy's Iberia.
Monnard's incisive
preface brilliantly draws
links between the two
composers who, along with
Igor Stravinsky, were
working in Paris during
those years. The Rapsodie
espagnole qualifies above
all as a masterpiece of
Ravel's instrumental
magic. This fireworks of
orchestration demands a
reliable and purchasable
performance material that
can grace the library of
every professional
orchestra.
The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!Have a look
into PB 5530. Early
modern. Part. 8 pages.
Duration 15'. Breitkopf
and Haertel #OB 5530-27.
Published by Breitkopf
and Haertel
(BR.OB-5530-27).
ISBN
9790004340868. 10 x 12.5
inches.
After
Bolero and La Valse, a
third, often-played work
by Ravel is now entering
Breitkopf's orchestral
program, obviously in a
Breitkopf Urtext edition
that was supervised by
the Ravel expert
Jean-Francois Monnard. As
a compositional
destination around 1900,
Spain was in the air, as
is also confirmed by
Debussy's Iberia.
Monnard's incisive
preface brilliantly draws
links between the two
composers who, along with
Igor Stravinsky, were
working in Paris during
those years. The Rapsodie
espagnole qualifies above
all as a masterpiece of
Ravel's instrumental
magic. This fireworks of
orchestration demands a
reliable and purchasable
performance material that
can grace the library of
every professional
orchestra.
The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!
Chamber Music English Horn, Piano SKU: PR.114422630 Composed by Stacy Gar...(+)
Chamber Music English
Horn, Piano
SKU:
PR.114422630
Composed
by Stacy Garrop. Sws. Set
of Score and Parts. 8+2
pages. Duration 5
minutes. Theodore Presser
Company #114-42263.
Published by Theodore
Presser Company
(PR.114422630).
UPC:
680160684793. 9 x 12
inches.
In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont, Wyoming.
Ucross is an artist
colony that gives
writers, composers, and
visual artists
the gift of time,
space, and support to
follow their artistic
pursuits; we are provided
with studio space,
housing, and meals so
that we can work
continuously on our
projects. I have been
in residence at numerous
artist colonies; however,
nothing in my
previous experiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on
a 20,000-acre cattle
ranch at nearly 4,000
feet in elevation with
fewer than 150
people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming
to offer three glimpses
of what I found to be the
most striking aspects
of my residence. The
Solitude of Stars, the
third and final movement
of the original
sextet, was inspired
by the stunning nightly
display of the heavens
above. Without city
lights dimming the
night sky, countless
stars shone brightly over
the vast expanse of the
prairie. This edition
is part of The Solitude
of Stars Project that I
undertook during the
2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in Clearmont,
Wyoming. Ucross is an
artist colony that gives
writers, composers, and
visual artists the gift
of time, space, and
support to follow their
artistic pursuits; we are
provided with studio
space, housing, and meals
so that we can work
continuously on our
projects. I have been in
residence at numerous
artist colonies; however,
nothing in my previous
experiences prepared me
for living in such
isolated, wild country.
Ucross is situated on a
20,000-acre cattle ranch
at nearly 4,000 feet in
elevation with fewer than
150 people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming to
offer three glimpses of
what I found to be the
most striking aspects of
my residence. The
Solitude of Stars, the
third and final movement
of the original sextet,
was inspired by the
stunning nightly display
of the heavens above.
Without city lights
dimming the night sky,
countless stars shone
brightly over the vast
expanse of the prairie.
This edition is part of
The Solitude of Stars
Project that I undertook
during the 2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont,Wyoming. Ucross
is an artist colony that
gives writers, composers,
and visual artists
thegift of time, space,
and support to follow
their artistic pursuits;
we are provided
withstudio space,
housing, and meals so
that we can work
continuously on our
projects. I havebeen in
residence at numerous
artist colonies; however,
nothing in my
previousexperiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on a20,000-acre
cattle ranch at nearly
4,000 feet in elevation
with fewer than 150
peopleliving within the
town. But what Clearmont
lacks in population, it
makes up forabundantly
and spectacularly in
wilderness and wildlife.
I composed the sextet
Postcardsfrom Wyoming to
offer three glimpses of
what I found to be the
most striking aspects
ofmy residence. The
Solitude of Stars, the
third and final movement
of the original
sextet,was inspired by
the stunning nightly
display of the heavens
above. Without city
lightsdimming the night
sky, countless stars
shone brightly over the
vast expanse of the
prairie.This edition is
part of The Solitude of
Stars Project that I
undertook during the
2020COVID-19 pandemic,
which consists of a
series of arrangements
that I made forcolleagues
and friends.
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!Have a look
into PB 5530. Early
modern. Part. 12 pages.
Duration 15'. Breitkopf
and Haertel #OB 5530-23.
Published by Breitkopf
and Haertel
(BR.OB-5530-23).
ISBN
9790004340851. 10 x 12.5
inches.
After
Bolero and La Valse, a
third, often-played work
by Ravel is now entering
Breitkopf's orchestral
program, obviously in a
Breitkopf Urtext edition
that was supervised by
the Ravel expert
Jean-Francois Monnard. As
a compositional
destination around 1900,
Spain was in the air, as
is also confirmed by
Debussy's Iberia.
Monnard's incisive
preface brilliantly draws
links between the two
composers who, along with
Igor Stravinsky, were
working in Paris during
those years. The Rapsodie
espagnole qualifies above
all as a masterpiece of
Ravel's instrumental
magic. This fireworks of
orchestration demands a
reliable and purchasable
performance material that
can grace the library of
every professional
orchestra.
The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!
Arranged by Hal H. Hopson. Church-Worship, Funeral, Funeral & Memorial, Wedding ...(+)
Arranged by Hal H.
Hopson. Church-Worship,
Funeral, Funeral &
Memorial, Wedding and
Sacred. Print Music
Collection (Book). 407
pages. Published by Hope
Publishing Company.
Level: (Moderate).