Men's
Chorus (10 Copies).
Composed by Chen Yi.
Choral part(s). With
Standard notation. 480
pages. Duration 17
minutes. Theodore Presser
Company #312-41682.
Published by Theodore
Presser Company
(PR.312416820).
UPC:
680160050376. 8.5 x 11
inches.
Chen
Yi’s most
performed and most
beloved choral music is a
series of 10 Chinese folk
songs adapted for
S.A.T.B. Chorus
(published in 3 volumes:
312-41731, 312-41732,
312-41733). This special
version is a setting of
the familiar collection,
adapted for
children’s chorus
and
strings. Remembering
when I studied
composition in the
Central Conservatory of
Music in Beijing, I
learned to sing hundreds
of Chinese folk songs
collected from more than
twenty provinces and
fifty ethnic groups, and
went to countryside to
collect original folk
music every year. I
got to know that the folk
songs are a mirror of
people’s daily
lives, their thoughts and
sentiments, local customs
and manners. They are
sung in regional dialects
and use the idioms of
everyday speech with
their particular
intonations, accents and
cadences. This
correlation between
speech and music
distinguishes folk songs
of one region from
another. I learned
all songs by heart and
sang them back in the
exams every week.Â
They melted in my blood
and became my natural
music language. The
more I walk into the
music life,the more I
treasure the rich culture
I have learned from my
homeland. When I
became the
Composer-in-Residence of
Chanticleer and was
invited to write the
first work for its
concert program, as well
as another version for
its
Singing-In-The-Schools
program, I decided to
introduce A Set of
Chinese Folk Songs to my
American audiences, and
add a new flavor to
Chanticleer’srich
repertoire. The work
includes ten folk songs,
taken from eight
provinces (Anhui,
Shaanxi, Yunnan, Shanxi,
Taiwan, Sinkiang, Jiangsu
and Guizhou) and five
ethnic groups (Han,
Hasake, Uighur, Miao and
Yi). I arranged them
for choirs (men’s
or children’s
chorus) with various
combinations in voices,
to be sung mostly in
Chinese, some in
English.  From the
mysterious mountain songs
originally sung in the
open air with high and
long notes that can carry
over great distances, the
sweet and delicate
melodies of young love
compared with nature, the
humorous antiphony by
little children, and the
lively dancing tune by
villagers, you may get an
idea of various music
styles in Chinese folk
songs according to
geographic, ethnic and
linguistic differences,
and appreciate the beauty
of the Chinese folk
music. The pure choir
sound and the
sophisticated singing by
Chanticleer, in terms of
pitches, language and
musical expressions,
really attract and
inspire me to create some
more new works in the
years to come. In
thisedition of A Set of
Chinese Folk Songs for
standard SATB mixed choir
(with piano rehearsal
score), I divided these
ten songs into three
volumes. They are
Fengyang Song, The
Flowing Stream, Guessing,
Thinking of My Darling,
Mayila, Jasmine Flower,
Riding on a Mule,
Awariguli, Diu Diu Deng,
andMountain Song and
Dancing Tune.—Chen
Yi.
Orchestra (Violoncello) SKU: BA.BA07887-82 Composed by Gabriel Faure. Edi...(+)
Orchestra (Violoncello)
SKU: BA.BA07887-82
Composed by Gabriel
Faure. Edited by Robin
Tait. This edition:
urtext edition. Folded.
Barenreiter Urtext.
Single part. Opus 50. 3
pages. Duration 7
minutes. Baerenreiter
Verlag #BA07887_82.
Published by Baerenreiter
Verlag (BA.BA07887-82).
ISBN 9790006558537.
32.5 x 25.5 cm
inches.
The
popularity of Faure's
Pavane is mostly
attributed to its many
arrangements but the
original version for
orchestra is being
published here for the
first time. Shortly after
completing the orchestral
work, Faure began work on
a version for choir,
which was actually
premiered before the
orchestral
version.
This new
Barenreiter edition
offers conductors and
orchestras a reliable
Urtext edition of the
Pavane's original
orchestral version which
will surely enhance
symphonic concert
programmes
everywhere.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet
SKU:
PR.114405050
Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050).
UPC:
680160008377. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
By Georgi Vasilievich Sviridov. For chorus. (SATB (DIV), SOLI). Russian Title: ...(+)
By Georgi Vasilievich
Sviridov. For chorus.
(SATB (DIV), SOLI).
Russian Title: Tri hora
iz tragedii A. K.
Tolstogo "Tsar' Feodor
Ivanovich". Published by
Musica Russica. (CMR
001)
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet
SKU:
PR.11440505S
Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S).
UPC:
680160008391. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Recorder; Methods and Music for Children; Early Music SKU: UT.HS-303 V...(+)
Recorder; Methods and
Music for Children; Early
Music
SKU:
UT.HS-303
Vol. 2:
Intermediate Level.
Edited by Nicola Sansone.
Saddle stitching.
Classical. Ut Orpheus #HS
303. Published by Ut
Orpheus (UT.HS-303).
ISBN 9790215327016. 9
x 12 inches.
This
two-volume anthology has
been designed on the
living experience of
teaching as material
intended for descant
recorder players at the
beginner and intermediate
level. The progressive
order allows an approach
to ensemble music,
starting from the use of
just the notes of the
left hand, and proceeds
with the acquisition of
the new positions
reaching the chromatic
range of an octave and a
sixth. The repertoire
used consists exclusively
of dance music from the
French and Flemish area
contained in various
collections published
between 1530 and 1583 by
various composers and
editors. This choice was
dictated by a number of
different factors: the
extremely clear and
symmetrical metric and
formal schemes typical of
the Renaissance dance
form, with due and useful
exceptions, help to
understand the concept of
musical phrase; the use
of coded and recurring
rhythmic formulas makes
it possible to perfect
the rhythmic division;
harmony based mostly on
the basic steps helps to
form an experience of
listening, intonation and
understanding of the main
harmonic functions. No
less significant are
other elements, such as
variety in the length of
the pieces, from a few
bars up to several dozen,
which favours the
development of
concentration and
attention, with the same
technical difficulties.
Above all, however, the
vastness of the
repertoire, more than 500
compositions, makes it
possible to choose and
order the pieces with an
idea of
​​technical
and musical
progressiveness
comparable to that of a
method. The edition
is produced in such a way
that all the pieces can
be performed in four
parts except for some in
five parts, in different
ensembles. The most basic
is in reduced three-part
form of descant, tenor
and bass, the latter two
are given respectively to
the right and left hand
of the keyboard player.
Since recorders play at
the octave above, the
tenor part is also
transposed in the same
way to make the sound of
the three upper voices
homogeneous, while the
bass retains its original
range. It is also
possible to enlarge the
group to play the full
four voices with the
addition of an alto or
tenor recorder playing
the alto part, available
in the separate part, and
two more instruments,
tenor and bass recorders
or others, performing the
respective lines alone or
doubling with the
keyboard.
Double bass SKU: BA.BA07887-85 Composed by Gabriel Faure. Edited by Robin...(+)
Double bass
SKU:
BA.BA07887-85
Composed by Gabriel
Faure. Edited by Robin
Tait. This edition:
urtext edition. Folded.
Barenreiter Urtext.
Single part. Opus 50. 3
pages. Duration 16
minutes. Baerenreiter
Verlag #BA07887_85.
Published by Baerenreiter
Verlag (BA.BA07887-85).
ISBN 9790006558544.
32.5 x 25.5 cm
inches.
The
popularity of Faure's
Pavane is mostly
attributed to its many
arrangements but the
original version for
orchestra is being
published here for the
first time. Shortly after
completing the orchestral
work, Faure began work on
a version for choir,
which was actually
premiered before the
orchestral
version.
This new
Barenreiter edition
offers conductors and
orchestras a reliable
Urtext edition of the
Pavane's original
orchestral version which
will surely enhance
symphonic concert
programmes
everywhere.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Composed by E. Leidzen.
Arranged by E. Leidzen.
Band Music. Score and
parts. Duration 2:30.
Published by G & M Brand
Music Publishers
(CN.R10222).
Could Dvorak
have known that he was
writing a standard piece
for young bands when he
created this piece? This
rendition is ideal for a
variety of occasions -
concerts, graduation
ceremony, and special
events. 1/2/3
Dvorak's
arrangement for orchestra
of 'The Old Folks at
Home' was made in the
1890s for a Summer School
held in Spillville, Iowa.
Those attending were
mostly drawn from a local
Czech-speaking community
and Dvorak enjoyed
sharing time with people
who spoke his own
language. As
instrumentalists the
players were limited,
many little more than
beginners; yet in his
arrangement Dvorak
created a musically
authentic and attractive
setting of Stephen
Foster's popular melody
that is truly a
masterpiece in economy of
demand. Many years later,
in 1942, Edwin Franko
Goldman invited Erik
Leidzen to transcribe
Dvorak's arrangement for
concert band.
Achnaton Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000712-140 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.GOB-000712-140
Composed by Jan Bosveld.
Score Only. 40 pages.
Gobelin Music
Publications #GOB
000712-140. Published by
Gobelin Music
Publications
(BT.GOB-000712-140).
The Egyptian
pharaoh Amenhotep IV,
better known as Achnaton,
was the second son and
successor of Amenhotep
III. He reigned the
New Kingdom from 1353
until 1336 BC.
Achnatons lack of
interest in the economic
well-being of Egypt
ushered ina revolutionary
period in Egyptian
history. His harsh
reign induced much
suffering under the
population. During
this period when it was
customary for a pharaoh
to have many wives, he
had taken his cousin
Nefertete to reign as
queen at hisside. An
elegant and very
beautiful woman, she used
her influence to ease the
turmoil caused by
Achnaton. Combined
with her grace, her
presence at public
functions led to a
greater popularity among
her subjects than the
pharaoh
enjoyedhimself. Being
mostly preoccupied with
religious questions, he
declared that all the
other gods did not exist.
There was only one god,
the Aten, and it was the
sun itself. It was
now necessary to change
his name: ‘Amenhotep’
meaning ‘the god Amun
is satisfied’, because
he didnt want to be
associated with Amun or
any of the other
deities. He renamed
himself ‘Achnaton’
which means ‘servant of
the Aten’ -- a much
more appropriate
title! In the sixth
year of his reignAchnaton
also moved the capital to
a brand new city called
Achet-Aton (‘the
Horizon of the Aten’)
which was where Tel
el-Amarna stands today.
He did this to further
isolate himself from the
‘old’ religion, since
the previous capital
Thebes was thecentre of
worship of Amun. This
new religion created an
up rise among the
population and high
priests. In spite of
Nefertetes influence, the
falling economy and
religious conflict
resulted in the decline
of the Egyptian
empire. Hoping
toforget it ever
happened, people later
tried to eradicate all
traces of Achnaton and
his successors rule by
smashing their statues,
mutilating their mummies,
and ruining their relief
carvings. From that
moment on he was
remembered as
the‘heretic
king’.
This
composition was partially
funded by the ‘Prins
Bernhard
Cultuurfonds’.
D
e Egyptische farao
Achnaton was de zoon en
opvolger van Amenhotep
III en besteeg de troon
als Amenhotep IV. Hij
regeerde van 1353 tot
1336 voor Christus.
Achnaton was nauwelijks
ge?nteresseerd in
politiek en handel
waardoorhet Egyptische
rijk onder zijn bewind in
economisch verval raakte.
Hij regeerde per decreet
waaronder de bevolking
zwaar te leiden had.
In die tijd was het
gebruikelijk dat de
farao’s meerdere
vrouwen hadden waarvan
hij eréén tot zijn
hoofdvrouw koos waarmee
hij zijn rijk regeerde.
Nefertete was de
uitverkorene. Een zeer
mooie, elegante vrouw,
die met haar invloed op
het harde beleid van
Achnaton nog voor enige
verlichting zorgde. Dit
en haar aanwezigheidbij
openbare presentaties
leidde ertoe dat zij bij
de bevolking een veel
grotere populariteit
genoot dan de farao zelf.
Achnaton hield zich
vooral bezig met
religieuze vraagstukken.
Hij brak met het idee dat
er meergoden zouden
bestaan. Volgens hem was
er slechts één god,
namelijk de zon. Deze
zonnegod noemde hij
Aton. Nadat deze
gedachte zich bij hem had
geopenbaard veranderde
hij zijn naam van
Amenhotep in Achnaton,
hetgeen in het
Egyptisch“Aton
welgevallig”
betekent. In zijn
zesde regeringsjaar
stichtte Achnaton de
nieuwe regeringszetel
“Achet-Aton”, ver van
de bewoonde wereld in de
woestijn. Deze stad,
het huidige Tell
el-Amarna in
Midden-Egypte,stond
geheel in het teken van
de zonnegod. Deze nieuwe
godsdienst stuitte op
veel weerstand bij de
bevolking en de
priesters. De
godsdienststrijd die
hierdoor ontstond
gekoppeld aan het
economische verval
zorgde, ondanks de
invloedvan Nefertete,
voor de ineenstorting van
het Egyptische rijk als
grote mogendheid. Na
de dood van Achnaton werd
de regeringszetel
“Achet-Aton” gebruikt
als steengroeve. Zijn
naam werd verwijderd van
de alle bouwwerken en
herinneringszuilen.
Orchestra (Viola) SKU: BA.BA07887-79 Composed by Gabriel Faure. Edited by...(+)
Orchestra (Viola)
SKU:
BA.BA07887-79
Composed by Gabriel
Faure. Edited by Robin
Tait. This edition:
urtext edition. Folded.
Barenreiter Urtext.
Single part. Opus 50. 3
pages. Duration 7
minutes. Baerenreiter
Verlag #BA07887_79.
Published by Baerenreiter
Verlag (BA.BA07887-79).
ISBN 9790006558520.
32.5 x 25.5 cm
inches.
The
popularity of Faure's
Pavane is mostly
attributed to its many
arrangements but the
original version for
orchestra is being
published here for the
first time. Shortly after
completing the orchestral
work, Faure began work on
a version for choir,
which was actually
premiered before the
orchestral
version.
This new
Barenreiter edition
offers conductors and
orchestras a reliable
Urtext edition of the
Pavane's original
orchestral version which
will surely enhance
symphonic concert
programmes
everywhere.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Orchestra Concert Band SKU: PR.416413660 For Violin and Orchestra....(+)
Orchestra Concert Band
SKU: PR.416413660
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Perfect. Contemporary.
Full score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366.
Published by Theodore
Presser Company
(PR.416413660).
ISBN
9781598063578. UPC:
680160601899. 9x12
inches.
Trained as
a violinist in his native
Tehran, composer Behzad
Ranjbaran eagerly drew
inspiration from the
traditional Persian
kamancheh and its
delicate, lyrical sound
when creating his
profoundly luscious and
brilliant Concerto for
Violin and Orchestra.
This work was completed
in 1994 and premiered in
England by Joshua Bell,
who also gave the first
American and Canadian
performances. The
Concerto for Violin and
Orchestra is the
recipient of the Rudolf
Nissim Award from ASCAP,
and it was supported in
part by a grant from The
National Endowment for
the Arts. The solo part
with a piano reduction as
well as a large score are
available on custom
print. For advanced
players. Duration:
31'. From my early
years studying violin at
the Tehran Music
Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Grade 3 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert. Score Only.
Composed 2006. Anglo
Music Press #AMP159.
Published by Anglo Music
Press (HL.44006712).
Not a great
deal is known about the
life of the artist and
poet Adriaen Valerius
(ca. 1575 - 1625). He is
mostly remembered today
for his collection of 79
songs for voice and lute
(or cittern) called the
Nederlandtsche
Gedenck-clanck (literally
Netherlands sound
memories). The book is a
collection of his poems,
set to already-existing
popular melodies, and is
significant in that it is
one of the earliest
published sources of the
Wilhelmus, the Dutch
National Anthem. The book
gained national
popularity during the
long war with Spain, a
popularity that was
revived for similar
reasons during German
occupation in World War
II.
August Moonrise Chorale SSAATTBB - Intermédiaire GIA Publications
SSAATTBB choir, piano accompaniment, cello - Intermediate SKU: GI.G-8187 ...(+)
SSAATTBB choir, piano
accompaniment, cello -
Intermediate
SKU:
GI.G-8187
Composed by
Blake R. Henson. Evoking
Sound. Music Education.
Octavo. 20 pages. GIA
Publications #8187.
Published by GIA
Publications (GI.G-8187).
UPC: 785147818700.
English. Text by Sara
Teasdale.
A setting
of a Sara Teasdale poem
that is an ode to beauty.
A performance piece for
SATB (with some divisi),
piano, and cello,
duration ca. 6:00. Though
it requires substantial
vocal forces, it is a
“big†work
that is not overly
difficult, staying within
the established tonality
and remaining mostly
homophonic.
Composed by Renata Bratt and Bert Ligon. For cello. Saddle-stitched. Beginning-I...(+)
Composed by Renata Bratt
and Bert Ligon. For
cello. Saddle-stitched.
Beginning-Intermediate.
Book and online
audio/PDF. Published by
Mel Bay Publications, Inc
Chamber Music Piano, soprano Saxophone SKU: PR.164002950 Fantasy after...(+)
Chamber Music Piano,
soprano Saxophone
SKU:
PR.164002950
Fantasy after
Mendelssohn. Composed
by Dan Welcher. Sws. Set
of Score and Parts. 20+8
pages. Duration 10
minutes. Theodore Presser
Company #164-00295.
Published by Theodore
Presser Company
(PR.164002950).
ISBN
9781491114568. UPC:
680160633449. 9 x 12
inches.
Dan
Welcher’s
fascinating work for
soprano sax is both a
refraction of
Mendelssohn’s
music for A Midsummer
Night’s Dream, and
his own incidental music
to Shakespeare’s
comedy. The work’s
title, AS LIGHT AS BIRD
FROM BRIER, quotes from
Oberon (King of the
Fairies) invoking revelry
at the play’s
climactic wedding scene.
Welcher’s fantasy
skips among the most
beloved themes of
Mendelssohn’s
Midsummer – giving
the saxophonist quite a
workout, and the listener
a midsummer
delight. AS LIGHT AS
BIRD FROM BRIER is
loosely based on
Shakespeare’s play
A Midsummer
Night’s Dream,
which has haunted me
since I was nine years
old. My parents
subscribed me to The
Children’s Record
Guild, and every month a
new 78rpm vinyl record
would arrive in the mail.
They were mostly fairy
tales and “kids
lit,†but in this
case it was a very
condensed performance of
the actual play, with
Mendelssohn’s
music. I loved it
immediately, and still do
– I saw a
performance in 2014 at
the Stratford Festival
that literally stalks my
dreams.When I was
commissioned by
saxophonist Stephen Page
to compose a work for
soprano saxophone and
piano two years later, I
channeled Mendelssohn as
an inspiration:
specifically, the
Overture, the Scherzo,
the Intermezzo, the
fairy’s song
“You spotted snakes
with double
tongue,†and the
Rustics’ Dance.
But it’s not a
pastiche – most of
the music is completely
my own, though attentive
listeners will detect
snatches of
Mendelssohn’s
haunting score
throughout.This piece
joins MILL SONGS and
FLORESTAN’S FALCON
among works honoring my
favorite 19th-century
composers (in those
cases, Schubert and
Schumann) without ripping
them off. As Stravinsky
did in his ballet
Pulcinella, I have
borrowed fragments of
melody from a much-loved
composer, and made a
fabric of harmonies and
scales that are
genetically related to
Mendelssohn, but
unmistakably Welcher.In
this work, the
saxophonist is Puck
– skittish,
dazzlingly fast, and
brilliant in the outer
parts, and a mischievous
Cupid in the long,
central Love Song.
(Remember how Puck
anoints Titania’s
eyes with the juice from
a magic flower, which
causes her to fall in
love with Bottom the
weaver, who has been
bewitched and wears a
donkey’s head?)
The music traces
Puck’s magic
flight, the finding of
the flower,
Titania’s
love-scene with Bottom
and her fairies, and the
rustic players –
whose rehearsal of the
funniest
play-within-the-play in
literature is interrupted
by Puck’s dirty
tricks.I greatly enjoyed
the process of writing
this piece, and often
found myself quite moved
even as I was writing
it... which rarely
happens. Stephen Page,
who commissioned the
work, is a consummate
artist (and a bit of a
Puck himself). The title
comes from
Oberon’s final
speech in the
play:Through the house,
give glimmering light,By
the dead and drowsy
fire.Every elf and fairy
spriteHop as light as
bird from brier,And this
ditty, after me,Sing, and
dance it trippingly.
String Quartet SKU: FG.55011-574-3 Composed by Kalevi Aho. Score+parts. F...(+)
String Quartet
SKU:
FG.55011-574-3
Composed by Kalevi Aho.
Score+parts. Fennica
Gehrman #55011-574-3.
Published by Fennica
Gehrman (FG.55011-574-3).
ISBN
9790550115743.
Kale
vi Aho (b.1949) was only
18 years old when he
completed his String
Quartet no. 1 in g minor
(1967). Nonetheless it
was already the second
one of its kind: the
earlier string quartet in
a minor got christened
String Quartet No. 0 and
banned from performing.
The g minor quartet was
heard the first time only
50 years after it was
born, when the Kamus
Quartet premiered it at
the Musica Kalevi Aho
Festival in Forssa on
June 28, 2019. In Aho's
home town, Forssa, it was
not possible to study
composition with a
teacher: My model in this
and the other works I
composed while I was at
school was all the mostly
tonal music I had
personally played on the
violin or heard on the
radio. The first
movement, Moderato,
begins in variation form,
until followed by a fugue
based on the variation
theme. The initially
lyrical second movement
has a quick, virtuosic
and light middle section.
The third movement is a
very quick scherzo that
becomes dramatic, and the
work ends with a
chorale-like finale. The
composer tells: When I
got to study composition
at the Sibelius Academy
in autumn 1968 and showed
the quartet to my
teacher, Einojuhani
Rautavaara, he said there
was no point my studying
tonal harmony and tonal
formal constructions any
longer; that I could do
the exams in them
straight away and start
the courses in modern
music resources there and
then..
A Prayer of St. Patrick Chorale SATB SATB, Orgue - Intermédiaire MorningStar Music Publishers
SATB choir and organ - Intermediate SKU: MN.50-8012 Composed by Paul M. F...(+)
SATB choir and organ -
Intermediate
SKU:
MN.50-8012
Composed
by Paul M. French.
Cathedral Series.
Catholic Year C Holy
Trinity; Catholic Year C
Ordinary14. Trinity,
Lent, Organ Dedication,
21st Century, Morning,
Prayer, Trust/Guidance.
Octavo. MorningStar Music
Publishers #50-8012.
Published by MorningStar
Music Publishers
(MN.50-8012).
By Kim Williams. For Piano. Duet or Duo; Piano Duet (1 Piano, 4 Hands); Sheet. S...(+)
By Kim Williams. For
Piano. Duet or Duo; Piano
Duet (1 Piano, 4 Hands);
Sheet. Signature Series.
Early Intermediate. 8
pages. Published by
Alfred Music Publishing
Orchestra (Score) - advanced SKU: HL.49001770 Full Score. Composed...(+)
Orchestra (Score) -
advanced
SKU:
HL.49001770
Full
Score. Composed by
Wilhelm Friedemann Bach.
Edited by Walter
Lebermann. This edition:
Saddle stitching. Sheet
music. Concertino
(Chamber Orchestra).
Classical. Score. 16
pages. Duration 8'.
Schott Music #CON 14.
Published by Schott Music
(HL.49001770).
ISBN
9790001021197. UPC:
073999293562.
9.25x12.0x0.07
inches.
Though A.E.
Brachvogel's portrayal of
the failed genius in his
biography about W.F. Bach
drew an impressive
picture of the inner
turmoil of the eldest
Bach son's personality,
it is rather unproductive
for the understanding of
his music. However,
legends often or mostly
contain a core of truth:
There is no doubt that
the highly gifted
musician failed because
of the overwhelming
example of his father (as
composer) particularly
since he was on the
threshold from one epoch
to another.In the adagio,
both flute parts rising
above the string
orchestra are assigned a
quality of expression
that can already be
related to the
sentimental age whereas
the second movement, a
more or less strict
string fugue, is rooted
in the
tradition-conscious
baroque period.
Circus Delight Ensemble de cuivres [Conducteur] - Facile Gobelin Music Publications
Brass Band - Grade 2 SKU: BT.GOB-000381-130 Composed by Dagmar Kildevann....(+)
Brass Band - Grade 2
SKU:
BT.GOB-000381-130
Composed by Dagmar
Kildevann. Score Only. 12
pages. Gobelin Music
Publications #GOB
000381-130. Published by
Gobelin Music
Publications
(BT.GOB-000381-130).
‘Circus
Delight’ is a five-part
suite which is set, how
could it be otherwise, in
a big circus
tent.
The suite
starts with a part called
‘Entrance’. The
orchestra, positioned
above the entrance of the
ring asks for the
attention of the audience
and then the ring
announcer enters. The
show can begin! The
elephants play a central
role in the first act.
These colossal grey
animals are rather slow
and perform their tricks
in a moderate tempo.
(‘Elephant
Blues’) How
different are ‘The
Acrobats’. At high
speed they run, jump and
fly through the ring,
until ....... It gets
very exciting.
Fortunately, all’s well
that ends well and they
take their leave of the
audienceat a trot.
Everyone knows, and yet
it is mostly not spoken
about, that when a clown
has taken off his red
nose and rubbed off his
make-up, his face
off-stage is not always a
happy one. (‘Tears of
the Clown’) The
piece ends on a cheerful
note with ‘The
Parade’, in which all
the artists make their
entrance in the ring once
again to gratefully
acknowledge the
audience’s overwhelming
applause.
‘Circus
Delight’ is een
vijfdelige suite die zich
afspeelt in, hoe kan het
ook anders, een grote
circustent.
De
suite begint met
‘Entrance’. Het
orkest dat boven de
ingang van de piste zit
vraagt de aandacht van
het publieken de
spreekstalmeester komt
binnen. De voorstelling
kan beginnen. De
olifanten staan centraal
in de eerste act. De
grote grijze kolossen
zijn niet de snelste
dieren en vertonen hun
kunsten in een rustig
tempo.
(‘ElephantBlues’)
Bij ‘The Acrobats’ is
dat wel even anders. In
rap tempo hollen,
springen en vliegen ze
door de piste totdat ...
het heel spannend wordt.
Maar het gaat gelukkig
goed en in snel tempo
nemen ze afscheid van het
publiek. Iedereen weet
het en toch, er wordt
meestal niet over
gesproken dat wanneer de
clown na de voorstelling
zijn rode neus en schmink
afdoet, we zien dat het
gezicht van de clown niet
altijd lacht. (‘Tears
of the Clown’) We
sluiten vrolijk af met
‘The Parade’ waarin
alle artiesten nog een
keer in de piste
voorbijkomen, om het
overweldigende applaus
dankbaar in ontvangst te
nemen.