2
Performing Scores with
Online Audio.
Composed by Jacques
Offenbach. Edited by
Cyrille Tricoire and
Jean-Christophe Keck.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. 88 pages. Bote
& Bock #M202537091.
Published by Bote & Bock
(HL.48025146).
UPC:
196288096276.
Jacqu
es Offenbach was not only
one of the most
successful composers of
his time, but also an
incomparable virtuoso on
the cello - his ravishing
playing in the salons of
Paris caused many a swoon
among the (female)
audience. Under the opus
numbers 49 to 54, he also
presented a cello method
in the form of duets of
progressive difficulty.
Offenbach would not be
himself if the work did
not meet the very highest
standards both from an
educational and a
musical-compositional
point of view, with an
always typical
naturalness and
originality of style. All
six volumes are equally
suitable as a method of
cello technique, duet
playing, for enjoyable
music-making at home as
well as forconcert
performances. The new
edition in the Offenbach
Edition Keck OEK
complements the modernly
edited music material by
adding online links to
audios ofthe individual
parts as well as the
duets in harmony.
Trombone and piano - advanced SKU: CY.CC2565 Composed by Franz Joseph Hay...(+)
Trombone and piano -
advanced
SKU:
CY.CC2565
Composed by
Franz Joseph Haydn.
Arranged by Robert
Trevarthen. Classical.
Solo part and piano
accompaniment. Published
by Cherry Classics
(CY.CC2565).
Haydn composed
over 100 compositions,
each in three movements,
for his wealthy employer
Nicolas Esterhazy, who
played the six-string
instrument called a
Baryton, which in shape
looked much like our
modern day cello, but, of
course, with six rather
the cello four strings.
His original scores were
composed of three lines:
the solo part, an inner
filler part for viola and
a bass part. I have
realized the piano part.
These transcriptions were
created to give the solo
trombonist an experience
with classical
music.
The music
is in an elegant style
and a joy to perform as
arranged by Mr.
Trevarthen.
The
six works included in the
collection are as
follows: No. 2 in G
(Theme and
Variations) No. 26 in
F No. 49 in F No.
55 in F No. 77 in
F No. 95 in
B-flat
The works
are between 6 and 9
minutes in length each
and suitable for
moderately advanced
performers.
From Terra Nostra.
Composed by Stacy Garrop.
Full score. Duration
3:15. Theodore Presser
Company #312-41902S.
Published by Theodore
Presser Company
(PR.31241902S).
UPC:
680160690589.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
From Terra Nostra.
Composed by Stacy Garrop.
Set of Score and Parts.
Duration 3:15. Theodore
Presser Company
#312-41902A. Published by
Theodore Presser Company
(PR.31241902A).
UPC:
680160690510.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
(from Ode for Saint Cecilia's Day). Composed by Henry Purcell (1659-1695). Arran...(+)
(from Ode for Saint
Cecilia's Day). Composed
by Henry Purcell
(1659-1695). Arranged by
Bob Lipton. For string
orchestra. FJH String
Orchestra. Grade 3.5.
Score and parts. Duration
3 minutes, 15 seconds.
Published by The FJH
Music Company Inc
(Twentieth-century arrangements from choral and instrumental works). By Johann S...(+)
(Twentieth-century
arrangements from choral
and instrumental works).
By Johann Sebastian Bach
(1685-1750). Arranged by
Michael Aston; David Owen
Norris. For Solo piano.
Piano. Other Collection.
64 pages. Published by
Oxford University Press
(OU.9780193392
Composed by
Aaron Fryklund. Carl
Fischer Young String
Orchestra Series. Set of
Score and Parts.
16+16+4+10+10+10+12
pages. Carl Fischer Music
#YAS210. Published by
Carl Fischer Music
(CF.YAS210).
ISBN
9781491160442. UPC:
680160919031.
In
the dim moonlight on a
night long past a rider
emerges from the fog and
slowly dares to cross a
mysterious and unsettling
bridge. The trembling
rider hesitates, unsure
whether he is more
nervous about the legend
of the headless horseman
or the creaking and
shifting he feels under
his own horse's hooves.
Haunted Bridges is a work
for string orchestra
inspired by Washington
Irving's Ichabod Crane
and his ill-fated ride in
Sleepy Hollow. The piece
contains allusions to the
tune London Bridge is
Falling Down, first as a
creeping counter-melody
and later as a theme in a
twisted 3/4 section whose
shifting harmonic
progression draws to mind
the fall of the fabled
bridge. Haunted Bridges
contains alternating F/C
sharps and naturals
throughout and devilishly
unpredictable harmonic
patterns. The piece also
calls for numerous
extended techniques that
students will enjoy,
including playing behind
the bridge, sul
ponticello, portamento,
and seagull glissandi.
Special techniques:
Haunted Bridges calls for
a handful of extended
techniques, most of which
are self explanatory or
commonly known. The
technique appearing in
the Violin II part from
measures 58-72 may
require some additional
explanation. This figure
is sometimes referred to
as seagull glissando and
is achieved by lightly
touching the finger to
the string and gliding up
and down the string,
producing many transient
natural harmonics as the
finger crosses the nodes
of the string. It is
suggested to start with
the 3rd finger on the A
string and slowly
glissando up beyond the
natural A harmonic, then
slowly back down,
continuing in this
pattern until measure 73.
It is also intended for
each player to vary their
speed slightly so that
the timing of the
glissandi are all a
little different,
resulting in a
shimmering, aleatoric
effect. In the dim
moonlight on a night long
past a rider emerges from
the fog and slowly dares
to cross a mysterious and
unsettling bridge. The
trembling rider
hesitates, unsure whether
he is more nervous about
the legend of the
headless horseman or the
creaking and shifting he
feels under his own
horse's hooves. Haunted
Bridges is a work for
string orchestra inspired
by Washington Irving's
Ichabod Crane and his
ill-fated ride in Sleepy
Hollow. The piece
contains allusions to the
tune London Bridge is
Falling Down, first as a
creeping counter-melody
and later as a theme in a
twisted 3/4 section whose
shifting harmonic
progression draws to mind
the fall of the fabled
bridge. Haunted Bridges
contains alternating
F/CÂ sharps and
naturals throughout and
devilishly unpredictable
harmonic patterns. The
piece also calls for
numerous extended
techniques that students
will enjoy, including
playing behind the
bridge, sul ponticello,
portamento, and seagull
glissandi.Special
techniques:Haunted
Bridges calls for a
handful of extended
techniques, most of which
are self explanatory or
commonly known. The
technique appearing in
the Violin II part from
measures 58-72 may
require some additional
explanation. This figure
is sometimes referred to
as seagull glissando and
is achieved by lightly
touching the finger to
the string and gliding up
and down the string,
producing many transient
natural harmonics as the
finger crosses the nodes
of the string. It is
suggested to start with
the 3rd finger on the A
string and slowly
glissando up beyond the
natural A harmonic, then
slowly back down,
continuing in this
pattern until measure 73.
It is also intended for
each player to vary their
speed slightly so that
the timing of the
glissandi are all a
little different,
resulting in a
shimmering, aleatoric
effect.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
(16 Selections from the Operas in Historic Arrangements for 2 Flutes). Composed ...(+)
(16 Selections from the
Operas in Historic
Arrangements for 2
Flutes). Composed by
Wolfgang Amadeus Mozart
(1756-1791). Arranged by
Various. For Flute Duet.
Ricordi Germany.
Softcover. 40 pages.
Published by Ricordi
Choir SKU: HP.C6141C Composed by Kirk Franklin. Arranged by Joel Raney. M...(+)
Choir
SKU:
HP.C6141C
Composed by
Kirk Franklin. Arranged
by Joel Raney. My heart,
O God, is steadfast, my
heart is steadfast; I
will sing and make music.
Psalm 57:7. Easter
Sunday, Sacred.
Performance/Accompaniment
CD. Hope Publishing
Company #C6141C.
Published by Hope
Publishing Company
(HP.C6141C).
UPC:
763628961411. By Kirk
Franklin.
Spiritual
by Kirk Franklin
The music of Kirk
Franklin is synonymous
with the heart of worship
in the African-American
Church, and Joel Raney
has set this powerful
resurrection song as
authentically as
possible, maintaining its
soulful, gospel style.
The buildup from
beginning to end is sure
to enrapture all in the
message Don't cry, wipe
your eyes, he is not
dead! If you enjoyed
Revelation 19 and Order
My Steps, previously
published in our catalog,
then you won't want to
miss this one.
Orchestrations:
Conductor's Score, Horn
(or Alto Sax or
Clarinet), 2 Trombone (or
Tenor Sax or Baritone T.
C. ), Percussion, Piano,
Synth (Vintage Rhodes),
Electric Guitar (or Capo
Guitar), Electric Bass,
Drums, Violins 1 & 2,
Viola (or Clarinet),
Cello/Bassoon (or Bass
Clarinet). Double Bass
and String
Reduction.
For Flute and Piano. Composed by Nancy Andrew. Arranged by James Galway. Sout...(+)
For Flute and Piano.
Composed by Nancy Andrew.
Arranged by James Galway.
Southern Music.
Classical.
Softcover. Southern Music
Company #B579. Published
by
Southern Music Company