Quasi Hoquetus Piano Trio: Instruments de chambre mixtes Sikorski
For Viola, Cello and Piano. Composed by Sofia Gubaidulina (1931-). String...(+)
For Viola, Cello and
Piano. Composed by
Sofia Gubaidulina
(1931-). String Ensemble.
Contemporary, Classical.
Sikorski #SIK8678.
Published by Sikorski
(HL.50600435).
Guitar SKU: FG.55011-522-4 Composed by Harri Vuori. Fennica Gehrman #5501...(+)
Guitar
SKU:
FG.55011-522-4
Composed by Harri Vuori.
Fennica Gehrman
#55011-522-4. Published
by Fennica Gehrman
(FG.55011-522-4).
ISBN
9790550115224.
Harr
i Vuori's Chiroptera
(2017) for guitar
embraces the instrument
with several
compositional solutions
born from the attributes
of the guitar. Dedicated
to Patrik Kleemola this
12 minutes work is
devided in three
movements. The textures
of Chiroptera are complex
but their build-up,
fade-out, measuring and
timing of these changes
is clearly defined and
understandable. According
to the composer the name
Chiroptera has the same
beautiful sound as the
composition in whole. In
addition he currently
lives in an area
populated with lots of
bats both in the woods
and in the atticks. Harri
Vuori (b. 1957) studied
composition with Paavo
Heininen, Eero
Hameenniemi and
Einojuhani Rautavaara at
the Sibelius Academy. He
has been composer in
residence of the Hyvinkaa
Orchestra since 1997 and
has taught in the
Department of Musicology
at the University of
Helsinki since 1993. HIs
guitar concerto Ctulhu's
Dreams (2016) based on
the Ctulhu mythology by
H.P. Lovecraft was
commissioned by the
Lappeenranta City
Orchestra and premiered
in 2016.
By Joseph M. Martin. Words by Joseph M. Martin; Additional text by Cleland B. Mc...(+)
By Joseph M. Martin.
Words by Joseph M.
Martin; Additional text
by Cleland B. McAfee
(1866-1944). For SATB
Choir. Choral. Single
Sheet. Published by
Shawnee Press.
By Patrick M. Liebergen. For SATB Choir with optional Solo Voice or Unison Choir...(+)
By Patrick M. Liebergen.
For SATB Choir with
optional Solo Voice or
Unison Choir, Flute or
Oboe, and Percussion.
Sheet Music. Published by
Harold Flammer Music.
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1651S Score Only. C...(+)
Concert Band Concert Band
- Grade 0.5
SKU:
FJ.B1651S
Score
Only. Composed by
Williams Owens. Concert
Band. FJH Starter Series.
Form: March. Score.
Duration 1:20. The FJH
Music Company Inc
#98-B1651S. Published by
The FJH Music Company Inc
(FJ.B1651S).
English.
Bring
your beginning musicians
to the forefront with
fortitude! Your students
will quickly embrace this
fresh concert march and
greatly benefit from its
endless teaching
opportunities. Advanced
snare drum and optional
timpani parts are at the
ready to enhance your
performance even further.
Big-time excitement with
only six notes!
About FJH
Starter
Series
Int
roduction to Beginning
Band - Ideal for the
first several months of
instruction. These pieces
are a comfortable length
for students (about a
half page of music) and
are playable with as few
as five instruments. All
instruments are limited
to a 6-note diatonic
range. Several
supplemental exercises
are included to help
teach different elements
of each piece. Grade
.5
Piano SKU: PR.701175060 Arranged by Edison Quintana. Peermusic Classical ...(+)
Piano
SKU:
PR.701175060
Arranged
by Edison Quintana.
Peermusic Classical
#70117-506. Published by
Peermusic Classical
(PR.701175060).
UPC:
888680101268.
“Th
e idea of writing the
Danzón No.2 originated
in 1993 during a trip to
Malinalco with the
painter Andrés Fonseca
and the dancer Irene
Martínez, both of whom
are experts in salon
dances with a special
passion for the danzón,
which they were able to
transmit to me from the
beginning, and also
during later trips to
Veracruz and visits to
the Colonia Salon in
Mexico City. From these
experiences onward, I
started to learn the
danzón’s rhythms, its
form, its melodic
outline, and to listen to
the old recordings by
Acerina and his Danzonera
Orchestra. I was
fascinated and I started
to understand that the
apparent lightness of the
danzón is only like a
visiting card for a type
of music full of
sensuality and
qualitative seriousness,
a genre which old Mexican
people continue to dance
with a touch of nostalgia
and a jubilant escape
towards their own
emotional world; we can
fortunately still see
this in the embrace
between music and dance
that occurs in the State
of Veracruz and in the
dance parlors of Mexico
City. The Danzón No.2 is
a tribute to the
environment that
nourishes the genre. It
endeavors to get as close
as possible to the dance,
to its nostalgic
melodies, to its wild
rhythms, and although it
violates its intimacy,
its form and its harmonic
language, it is a very
personal way of paying my
respects and expressing
my emotions towards truly
popular music. Danzón
No.2 was written on a
commission by the
Department of Musical
Activities at Mexico’s
National Autonomous
University and is
dedicated to my daughter
Lily.” -- Arturo
Marquez About the danzon
genre, Lidice Valenzuela
writes in Cubanow: The
history of the danzon
goes back to the arrival
in Cuba of the European
contradance. It came in
three different ways:
directly from Spain, the
colonial metropolis; with
the British, who occupied
Havana in 1762; and the
French colonizers and
their slaves who landed
in Cuba's Eastern shores
after fleeing from the
Haitian Revolution. From
all of that
trans-cultural process
the Danzon was born. This
new Cuban dance,
naturalized by the
Creoles, had much more
expressive freedom: the
couple danced in each
other's arms, and the
dancing time was
extended. People began
calling it Danzon and it
was in Matanzas, in the
1870s that figure dancing
also began to be called
Danzon. Thus, Failde, an
outstanding musician,
named his composition
with the generic name of
Danzon..
Choral Soprano I, Soprano II, Alto I, Alto II SKU: PR.312418590 For Ch...(+)
Choral Soprano I, Soprano
II, Alto I, Alto II
SKU: PR.312418590
For Children's Choir
and String Quartet.
Composed by Chen Yi. Self
Cover. Premiered by the
SFGC and Cypress String
Quartet, San Francisco
Conservatory, CA. Secular
choral. Vocal Score. With
Standard notation.
Composed 2010. 16 pages.
Duration 15 minutes.
Theodore Presser Company
#312-41859. Published by
Theodore Presser Company
(PR.312418590).
UPC:
680160595785. 8.5 x 11
inches. Text by Chen
Yi.
Often called
the Ellis Island of the
West, Angel Island in San
Francisco was used as an
immigration station in
the first half of the
20th century, processing
some one million Asian
immigrants. Because of
U.S. policy of the time,
many spent years on Angel
Island awaiting entry.
Recently named a National
Historical Landmark,
Angel Island and its
history is the
inspiration behind Chen
Yi's Angel Island
Passages, commissioned by
the San Francisco Girls
Chorus. Chen explores the
experiences of the
immigrants, even using
poems carved in the
walls, to express the
mood, the patient
yearning, and the
ultimate release and
embrace of a new country.
Angel Island Passages was
premiered June 4-5, 2010
by the SFGC and the
Cypress String Quartet at
the San Francisco
Conservatory. For
advanced performers.
Duration:
15'. Commissioned by
San Francisco Girls
Chorus (Executive
Director Melanie Smith),
and premiered by the SFGC
and Cypress String
Quartet on June 4, 2010,
conducted by
SFGC’s Artistic
Director Susan McMane, at
San Francisco
Conservatory, CA, the
3-movement song cycle
Angel Island Passages is
written for
children’s chorus
and string quartet, with
multimedia projection on
the walls of the concert
hall, produced by visual
artist Felicia Lowe.Â
The creative idea of this
work was initiated by Dr.
McMane, who invited me to
write the music, and sent
me the book
“Island, poetry and
history of Chinese
Immigrants on Angel
Island, 1910-1940â€,
by Him Mark Lai, Genny
Lim, and Judy Yung for
reference in 2009; also
inspired by the Angel
Island stories, and
through cooperation with
Felicia, who shared with
me her film “Carved
in Silence†and
video productions
“Chinatownâ€
and “Road to
Restorationâ€.I
named the first movement
of my work as
“1882â€, which
reflected the dark mood
under the Chinese
Exclusion Act of
1882. The collective
poems carved on the
wooden walls in Angel
Island expressed deep
emotion in sorrow and
anxiety. The music in
the second movement
“Longing†is
sad and sentimental.Â
The third movement is
called “We Are
Americaâ€, which is
ever-moving, energetic
and optimistic. The
text sung in the
beginning in Chinese
means “I am an
Americanâ€.Â
It’s sung in
Cantonese dialect, then
in Mandarin. As the
music develops, from
homophonic to polyphonic
with increasing layers,
the climax is reached
when the text is turned
to English “We Are
Americaâ€, which
symbolizes the
flourishing society with
the great contribution
from thousands of
immigrants during the
years. The music
fades out towards the
ending of the work, which
pushes the scene to a
remote picture, to look
forward to the future
peace of the world.I am
grateful to have the
opportunity to work with
such inspiring creative
artists in this project,
and hope the work is
meaningful to our new
society after the
premiere
performance.—Chen
Yi.
Piano SKU: PR.701185010 Arranged by Leticia Gómez-Tagle. Peermusic Class...(+)
Piano
SKU:
PR.701185010
Arranged
by Leticia Gómez-Tagle.
Peermusic Classical
#70118-501. Published by
Peermusic Classical
(PR.701185010).
UPC:
888680101275.
“Th
e idea of writing the
Danzón No.2 originated
in 1993 during a trip to
Malinalco with the
painter Andrés Fonseca
and the dancer Irene
Martínez, both of whom
are experts in salon
dances with a special
passion for the danzón,
which they were able to
transmit to me from the
beginning, and also
during later trips to
Veracruz and visits to
the Colonia Salon in
Mexico City. From these
experiences onward, I
started to learn the
danzón’s rhythms, its
form, its melodic
outline, and to listen to
the old recordings by
Acerina and his Danzonera
Orchestra. I was
fascinated and I started
to understand that the
apparent lightness of the
danzón is only like a
visiting card for a type
of music full of
sensuality and
qualitative seriousness,
a genre which old Mexican
people continue to dance
with a touch of nostalgia
and a jubilant escape
towards their own
emotional world; we can
fortunately still see
this in the embrace
between music and dance
that occurs in the State
of Veracruz and in the
dance parlors of Mexico
City. The Danzón No.2 is
a tribute to the
environment that
nourishes the genre. It
endeavors to get as close
as possible to the dance,
to its nostalgic
melodies, to its wild
rhythms, and although it
violates its intimacy,
its form and its harmonic
language, it is a very
personal way of paying my
respects and expressing
my emotions towards truly
popular music. Danzón
No.2 was written on a
commission by the
Department of Musical
Activities at Mexico’s
National Autonomous
University and is
dedicated to my daughter
Lily.” -- Arturo
Marquez About the danzon
genre, Lidice Valenzuela
writes in Cubanow: The
history of the danzon
goes back to the arrival
in Cuba of the European
contradance. It came in
three different ways:
directly from Spain, the
colonial metropolis; with
the British, who occupied
Havana in 1762; and the
French colonizers and
their slaves who landed
in Cuba's Eastern shores
after fleeing from the
Haitian Revolution. From
all of that
trans-cultural process
the Danzon was born. This
new Cuban dance,
naturalized by the
Creoles, had much more
expressive freedom: the
couple danced in each
other's arms, and the
dancing time was
extended. People began
calling it Danzon and it
was in Matanzas, in the
1870s that figure dancing
also began to be called
Danzon. Thus, Failde, an
outstanding musician,
named his composition
with the generic name of
Danzon..
Composed by Adam Gorb.
Arranged by Michael
Brand. Band Music. Score
only. Duration 4:20.
Published by G & M Brand
Music Publishers
(CN.S11242).
Scenes from an
English Landscape is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end of
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax.
This is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. I
imagined a community of
villagers coming out of
church and filling a
village square with their
vibrant presence. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end o
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax. Adam Gorb was
born in Cardiff and
started composing at the
age of ten. His first
work broadcast on
national radio was
written when he was
fifteen. He studied at
Cambridge University
(1977-1980) and the Royal
Academy of Music
(1991-1993) where he
graduated with the
highest honours including
the Principal's Prize. He
has been on the staff at
the London College of
Music and Media, the
junior Academy of the
Royal Academy of Music
and, since 2000 he has
been the Head of School
of Composition at the
Royal Northern College of
Music in Manchester .
International recognition
came in 1994 with the US
Walter Beeler Prize for
his work Metropolis .
With it began what has
developed into probably
the most important wind
ensemble catalogue by a
contemporary composer,
ranging from extremely
challenging to the most
accessible, at all
technical levels, seized
on by players
internationally, widely
recorded and now
absolutely central to the
world's wind repertoire.
Equally important though
are his works for dance,
and concert pieces like
the chamber orchestral
Weimar , the Violin
Sonata , a Clarinet
Concerto for the Royal
Liverpool Philharmonic
Orchestra and Diaspora
for strings (for the
Goldberg Ensemble).
Deceptively mainstream at
first glance, they
display the same
inventive brilliance,
pulsating sound world,
striking use of rhythm
and an undogmatic absence
of stylistic hang-ups to
embrace jazz and
serialism in works where
power, poetry, irony and
pathos, often underlaid
by a theatrical and
deeply subversive
element, coalesce in an
integrated, highly
individual musical voice.
Gorb is also not afraid
to draw on the vivid
musical heritage of his
Jewish roots, sometimes
directly, often in a more
subsumed or radically
creative way. The crucial
and consistent feature of
Gorb's work though is
that it communicates
strongly without
patronizing players or
audiences. He firmly
believes that if
contemporary music - any
music - does not impact
on listeners then its
message is irrelevant; it
is lost.
Malaika Chorale SATB SATB, Percussion(s) Carl Fischer
Angel. Composed by Fadhilli William Mdawida. Arranged by Russell L. Robinson. ...(+)
Angel. Composed by
Fadhilli
William Mdawida. Arranged
by
Russell L. Robinson. Sws.
Octavo. 16 pages.
Duration 3
minutes, 4 seconds. Carl
Fischer Music #CM9650.
Published by Carl Fischer
Music
SATB choir, congregation,
organ, brass quartet,
timpani - Early
Intermediate
SKU:
MN.60-6200
Composed
by Michael D. Costello.
Year A Easter5; Catholic
Year C Ordinary21.
Trinity, Pentecost, 21st
Century. Choral score.
MorningStar Music
Publishers #60-6200.
Published by MorningStar
Music Publishers
(MN.60-6200).
UPC:
688670662003. English.
Text: James E. Seddon. 1
Peter 2:9-12.
An
original hymn tune
ASSUMPTION is used as the
basis for this stirring
concertato. The text by
James E. Seddon is based
on 1 Peter 2:9-12. The
theme of the text is to
challenge the Church to
remember and embrace its
mission. Optional parts
for brass quartet and
timpani are available.
Useful for church
celebrations,
ordinations, and
installations.
Instrum
ental parts include:
Trumpets I and II in
B-flat, Trumpets I and II
in C, Trombones I and II,
opt. Horn in F (sub. for
Trombone I), Timpani.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
The Quintessential Guide to Creating Quality Musical Theatre Programs. Chora...(+)
The Quintessential Guide
to
Creating Quality Musical
Theatre Programs. Choral.
Hardcover. 368 pages. GIA
Publications #G9403.
Published by GIA
Publications
SATB choir with congregation, brass quintet, timpani, organ SKU: PL.0103FS(+)
SATB choir with
congregation, brass
quintet, timpani, organ
SKU: PL.0103FS
Composed by Bruce Saylor.
Choral, Festival,
General. Full Score.
Paraclete Press #0103FS.
Published by Paraclete
Press (PL.0103FS).
The text,
written by David Manuel,
sings the praises of all
who have gone before us
in the Christian life as
well as describing the
transfiguration scene and
our call to embrace our
own transfiguration in
Christ. Brass and timpani
provide a stirring
introduction to the
hymn-anthem and their
support is deeply felt
throughout the entire
work. The fourth verse is
for four-part choir
alone, while the final
verse is introduced with
brass fanfares. Those who
know Dr. Saylor's
hymn-anthems will see his
exciting, vibrant style
in full bloom here.
SATB choir with congregation, brass quintet, timpani, organ - Medium SKU: PL....(+)
SATB choir with
congregation, brass
quintet, timpani, organ -
Medium
SKU:
PL.0103
Composed by
Bruce Saylor.
Parish/Cathedral. Choral,
Festival, General, Hymn.
Octavo. Paraclete Press
#0103. Published by
Paraclete Press
(PL.0103).
The
text, written by David
Manuel, sings the praises
of all who have gone
before us in the
Christian life as well as
describing the
transfiguration scene and
our call to embrace our
own transfiguration in
Christ. Brass and timpani
provide a stirring
introduction to the
hymn-anthem and their
support is deeply felt
throughout the entire
work. The fourth verse is
for four-part choir
alone, while the final
verse is introduced with
brass fanfares. Those who
know Dr. Saylor's
hymn-anthems will see his
exciting, vibrant style
in full bloom here.
SKU: HL.398631 Line 6 Effects. Guitar Pedal. Line 6 #99-040-3705. Publish...(+)
SKU: HL.398631
Line 6 Effects. Guitar
Pedal. Line 6
#99-040-3705. Published
by Line 6 (HL.398631).
UPC: 614252311656.
6.5x16.25x3.0
inches.
The DL4
Delay Modeler has
remained one of the most
widely used delay pedals
in the world for more
than two decades -
embraced by everyone from
casual players to
superstars. The DL4 was
the first pedal to offer
a broad selection of
delay models based on
vintage tape echo devices
such as the Maestro®
EP-1 Echoplex and the
Roland® RE-101 Space
Echo, classic analog
delay stompboxes such as
the Electro-Harmonix®
Deluxe Memory Man, and
even the Binson Echorec
and studio staple TC
Electronic® 2290
Dynamic Digital Delay.
These were complemented
by several Line 6
originals, including the
exceptional Reverse delay
- and the DL4 also
boasted a highly
intuitive “14
Second Loop
Sampler†that is
still considered one of
most engaging loopers
ever made. The DL4 MkII
honors that legacy by
including every one of
those original sounds and
features, and retaining
the same knob and
footswitch layout, so
there's no need for DL4
users to learn any new
moves - but the DL4 MkII
also introduces many new
sounds and features that
bring it fully into the
21st century. The 15 MkII
delays were drawn from
our HX family of amp and
effects processors and
include Line 6 originals
such as Harmony Delay,
Pitch Echo, Euclidian
Delay, Glitch Delay and
ADT tape delay, as well
as 4-Switch and 1-Switch
loopers with up to 240
seconds of record time,
expandable to several
hours using an optional
microSD card. The DL4
MkII also features an XLR
dynamic microphone input
for vocal processing and
looping; MIDI
capabilities such as real
time parameter control
and preset selection (up
to 128) via its MIDI In
and Out/Thru DIN
connectors; four heavy
duty footswitches with
colored halo rings; and
switchable true,
buffered, or DSP bypass.
There's also a jack for
connecting an optional
expression pedal
(automatically assigned
to the Delay Time,
Repeat, Tweak, Tweez, or
Mix controls) or two
assignable external
footswitches.
•Identical knob and
footswitch layout as the
original DL4 •30
Delay options: 15 new
MkII plus 15 Legacy DL4
•2 Loopers -
mono/stereo and pre/post
signal path options
•Up to 240 seconds
of looping time, or
several hours with
optional microSD card
•XLR dynamic
microphone input for
vocal processing and
looping •MIDI In,
Out/Thru DIN
connectors-receives PC
and CC messages
•128 Presets via
MIDI, with footswitch
control of up to six
•Switchable true,
buffered, or DSP bypass
•Input for optional
expression pedal or two
additional
footswitches.
Chamber Music Clarinet, Flute, Percussion, Piano, Tape, Violoncello, soprano voi...(+)
Chamber Music Clarinet,
Flute, Percussion, Piano,
Tape, Violoncello,
soprano voice
SKU:
PR.11140180S
For
Mezzo-soprano Voice and
Chamber Ensemble with
Tape. Composed by
Shulamit Ran. Text: Five
Poems of Nelly Sachs,
Translation from German
of Nos. I, III and IV by
Ruth and Matthew Mead, of
No. II by Michael Roloff
and No. V by Michael
Hamburger. Contemporary.
Set of performance
scores. With Standard
notation. Composed 1969.
52 pages. Duration 18
minutes. Theodore Presser
Company #111-40180S.
Published by Theodore
Presser Company
(PR.11140180S).
UPC:
680160601691. Text: Nelly
Sachs. Nelly Sachs. Text:
Five Poems of Nelly
Sachs, Translation from
German of Nos. I, III and
IV by Ruth and Matthew
Mead, of No. II by
Michael Roloff and No. V
by Michael
Hamburger.
O The
Chimneys is a setting of
five poems by Nelly
Sachs, the great
German-Jewish 1966 Nobel
Prize co-winner in
literature, whose writing
concerned itself almost
entirely with the subject
of the holocaust.
Composed in 1969, the
work was my own personal
way of saying, through my
own art, do not forget.
Shockingly, these words
have as much relevance
today as they did when
the work was written.
Today we find ourselves
having to say do not
forget, do not distort,
do not deny it ever
happened. I
selected the five poems
from Sachs' O The
Chimneys collection,
retaining its grimly
evocative title even
though I did not include
the actual poem by that
name. In scoring the work
for female voice, flute,
clarinet/bass clarinet,
cello, piano and
percussion, I aimed to
give myself the broadest
possible palette of
instrumental colors while
using the smallest number
of participants. Yet as I
was planning the final
moments of my cycle, I
felt that instrumental
sound alone would not
suffice to express the
horror. An electronic
tape segment was added to
the work's final climax.
The first two
poems (A Dead Child
Speaks and Already
Embraced by the Arm of
Heavenly Solace), both
depicting the tearing of
a child away from his
mother, are treated
essentially as one unit,
with the first acting as
an introduction to the
second. These two, and
the cycle's apocalyptic
fifth poem (Hell is Naked
from Glowing Enigmas II),
act as the two weighty
pillar points, so to
speak, surrounding the
more introspective two
middle poems (Fleeing and
Someone Comes). To
maximize dramatic
differentiation within
the constraints of a
relentlessly tragic
subject matter, I used
range as a means to
delineate contrast, by
dividing the sounds
available to me into low
and dark (mvt. III) vs.
high and, at times,
eerily bright (mvt. IV)
colors. Thus the two
middle poems are intended
to balance the frenzied
madness of which the
work's outer parts are
made. The work
received its first
performance in New York
at the Metropolitan
Museum of Art's Grace
Rainey Auditorium on
January 19, 1970.
--Shulamit Ran.
Arranged by Sandra Dackow. Performance Music Ensemble; Single Titles; String Orc...(+)
Arranged by Sandra
Dackow. Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk. Score. 12 pages.
Duration 1:30. Alfred
Music #00-45825S.
Published by Alfred Music
(AP.45825S).
Die Flamingos Chorale SATB SATB divisi [Octavo] Schirmer
(No. 3 from Rilke Songs ). Composed by Julian Wachner (1969-). For SATB choir, ...(+)
(No. 3 from Rilke Songs
). Composed by Julian
Wachner (1969-). For SATB
choir, divisi. Secular.
Octavo. 20 pages.
Published by E.C.
Schirmer Publishing