(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
12 Original Works. Edited by Jens Franke. Guitar & Folk, Repertoire, Col...(+)
12 Original Works. Edited
by
Jens Franke. Guitar &
Folk,
Repertoire, Collections.
Schott Anthology Series.
Romantic Guitar Anthology
Volume 4. Classical,
Romantic.
Softcover Book and CD. 42
pages. Schott Music
#ED13113.
Published by Schott Music
Composed
by Jose Nunes Garcia.
Viola 1. Sacred vocal
music, Requiem. Single
Part, Viola 1. 12 pages.
Duration 35 minutes.
Carus Verlag #CV
23.008/13. Published by
Carus Verlag
(CA.2300813).
ISBN
9790007037772. Language:
Latin.
Garcia, born
in 1767 in Rio de
Janeiro, and priest and
music director at the
cathedral there, is still
hardly known. Among his
spiritual works are four
settings of the Mass for
the Dead. The present
,,Missa dos Defunktos was
commissioned by the
Portuguese King Dom Joao
VI in the memory of Queen
Maria I, who died in
1816. The composition, in
the key of D minor, shows
parallels in several
places to Mozart's
Requiem, which Garcia
performed two years later
(1819) for the first time
in Brasil. Score and part
available separately -
see item CA.2300800.
Garcia, born
in 1767 in Rio de
Janeiro, and priest and
music director at the
cathedral there, is still
hardly known. Among his
spiritual works are four
settings of the Mass for
the Dead. The present
,,Missa dos Defunktos was
commissioned by the
Portuguese King Dom Joao
VI in the memory of Queen
Maria I, who died in
1816. The composition, in
the key of D minor, shows
parallels in several
places to Mozart's
Requiem, which Garcia
performed two years later
(1819) for the first time
in Brasil. Score and
parts available
separately - see item
CA.2300800.
Composed
by Jose Nunes Garcia.
Viola 2. Sacred vocal
music, Requiem. Single
Part, Viola 2. 12 pages.
Duration 35 minutes.
Carus Verlag #CV
23.008/14. Published by
Carus Verlag
(CA.2300814).
ISBN
9790007037789. Language:
Latin.
Garcia, born
in 1767 in Rio de
Janeiro, and priest and
music director at the
cathedral there, is still
hardly known. Among his
spiritual works are four
settings of the Mass for
the Dead. The present
,,Missa dos Defunktos was
commissioned by the
Portuguese King Dom Joao
VI in the memory of Queen
Maria I, who died in
1816. The composition, in
the key of D minor, shows
parallels in several
places to Mozart's
Requiem, which Garcia
performed two years later
(1819) for the first time
in Brasil. Score and part
available separately -
see item CA.2300800.
Composed
by Jose Nunes Garcia.
Violoncello/double bass.
Sacred vocal music,
Requiem. Single Part,
Cello/Double Bass. 12
pages. Duration 35
minutes. Carus Verlag #CV
23.008/15. Published by
Carus Verlag
(CA.2300815).
ISBN
9790007037796. Language:
Latin.
Garcia, born
in 1767 in Rio de
Janeiro, and priest and
music director at the
cathedral there, is still
hardly known. Among his
spiritual works are four
settings of the Mass for
the Dead. The present
,,Missa dos Defunktos was
commissioned by the
Portuguese King Dom Joao
VI in the memory of Queen
Maria I, who died in
1816. The composition, in
the key of D minor, shows
parallels in several
places to Mozart's
Requiem, which Garcia
performed two years later
(1819) for the first time
in Brasil. Score and part
available separately -
see item CA.2300800.
Lauber's
193 catalogued works are
many and varied. He wrote
for all instruments and
in every genre except
oratorio and opera. Among
his output areseveral
works for double bass,
most written for Prof.
Hans Fryba, a personal
friend with whom he
worked as a double bass
and piano recital duo.
Fryba was one of the
leading players in Europe
in his day and was
principal of the Berlin
Philharmonic Orchestra.
First was Theme and
Variations (1936-7) and a
Rhapsodie with orchestra
(1937). Three Walzes
followed in 1939, a
Gavotte and Gigue, a
Sonata and then in 1943
Fantasie de Concert,
written for the Geneva
Competition. Four
Caprices appeared in
1942, the same date as
the Quartet for double
basses which was
dedicated to Fryba and
written for the Berlin
Philharmonic Double Bass
Quartet, one of the first
ever such ensembles to
exist.
The
Quartet for double basses
was revived by Klaus
Stoll in the 1970s for
the Philharmonic Double
Bass Quartet at that time
to play. It was
subsequently published in
1975 by Yorke Edition by
kind permission of the
composer's son Edmund
Lauber.
Piano Solo SKU: AP.36-M161091 Composed by Georges Bizet. Performance Musi...(+)
Piano Solo
SKU:
AP.36-M161091
Composed by Georges
Bizet. Performance Music
Ensemble; Solo Piano.
Ludwig Masters. Score and
Part(s). 40 pages.
LudwigMasters
Publications #36-M161091.
Published by
LudwigMasters
Publications
(AP.36-M161091).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet
SKU:
CF.W2682
For
Trumpet in E and Piano,
S.49. Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (CF.W2682).
ISBN 9781491144954.
UPC: 680160902453. 9 x 12
inches. Key: E
major.
By Ann Willison-Lemke. Johann Wolfgang von Goethe. For voice and piano. Erstvero...(+)
By Ann Willison-Lemke.
Johann Wolfgang von
Goethe. For voice and
piano.
Erstveroffentlichungen
(teilweise). Level:
intermediate. Full score.
Composed 1999. Duration
ca. 64'. Published by
Furore-Verlag (German
import).
Choral TTBB choir, piano SKU: CF.CM9635 Composed by Victor Johnson. Fold....(+)
Choral TTBB choir, piano
SKU: CF.CM9635
Composed by Victor
Johnson. Fold.
Performance Score. 12
pages. Duration 3
minutes, 19 seconds. Carl
Fischer Music #CM9635.
Published by Carl Fischer
Music (CF.CM9635).
ISBN 9781491157077.
UPC: 680160915637. 6.875
x 10.5 inches. Key: E
major. English, English.
Abram Joseph Ryan
(1838-1886).
Victor
Johnson captures the
mystery and nuance of the
bittersweet poem, Wake Me
a Song, by American poet,
Abram Joseph Ryan.
Nuance, text, and
Johnson's rich harmonies
paired with intertwining
textures make this a
noteworthy addition to
any program. Also
available for SATB Voices
(CM9561). About the
Author Abram Joseph Ryan
was born Matthew Abraham
Ryan on February 5, 1838
in Hagerstown, Maryland.
As a young man, Ryan and
his family moved west St.
Louis, Missouri, where he
was educated at the
Christian Brothers
School. He studied for
the priesthood at Niagra
University in New York
State and was ordained a
priest in the Vincentian
order on November 1,
1856. He taught theology,
first at Niagra
university and then at
the diocesan seminary in
Cape Girardeau, Missouri,
until the beginning of
the war between the
states. Father Ryan
enlisted in the army on
September 1, 1862, and
served as a chaplain
throughout the conflict,
carrying the wounded to
safety and performing
last rites on the
battlefield. His first
piece of poetry was
inspired by the death of
a younger brother while
serving in the army.
After the war, he
established a weekly
literary magazine in
which most of his poetry
was published. He also
put out several volumes
of poetry, including
Father Ryan's Poems and A
Crown for Our Queen.
Father Ryan died on April
22, 1886 at a Franciscan
monastery in Louisville,
Kentucky. About the Song
Wake Me A Song is an
inspired and sensitive
setting of the
19th-century poem by
Abram Joseph Ryan. It
features sweeping melodic
lines, rich harmonies,
and a flowingly beautiful
accompaniment. To master
a performance of this
selection, singers must
perform very
expressively, paying
close attention to such
musical aspects as phrase
shaping, the rise and
fall of the melodic line,
blending and proper
intonation between
sections. One strategy
that could be used to
ensure proper phrasing is
the idea of Painting the
Phrase. The singer should
make a motion as if they
have a paintbrush in
their hand and paint the
melodic line and phrase
shape as if they are
painting with a nice,
flowing brush stroke. One
could think about
painting a rainbow or an
arch to show the rise and
fall of the line and/or
phrase. The director can
also show this gesture
while conducting to
reinforce this
concept. About the
AuthorAbram Joseph Ryan
was born Matthew Abraham
Ryan on February 5, 1838
in Hagerstown, Maryland.
As a young man, Ryan and
his family moved west St.
Louis, Missouri, where he
was educated at the
Christian Brothers
School. He studied for
the priesthood at Niagra
University in New York
State and was ordained a
priest in the Vincentian
order on November 1,
1856. He taught theology,
first at Niagra
university and then at
the diocesan seminary in
Cape Girardeau, Missouri,
until the beginning of
the war between the
states.Father Ryan
enlisted in the army on
September 1, 1862, and
served as a chaplain
throughout the conflict,
carrying the wounded to
safety and performing
last rites on the
battlefield. His first
piece of poetry was
inspired by the death of
a younger brother while
serving in the army.
After the war, he
established a weekly
literary magazine in
which most of his poetry
was published. He also
put out several volumes
of poetry, including
Father Ryan's Poems and A
Crown for Our Queen.
Father Ryan died on April
22, 1886 at a Franciscan
monastery in Louisville,
Kentucky.About the
SongWake Me A Song is an
inspired and sensitive
setting of the
19th-century poem by
Abram Joseph Ryan. It
features sweeping melodic
lines, rich harmonies,
and a flowingly beautiful
accompaniment.To master a
performance of this
selection, singers must
perform very
expressively, paying
close attention to such
musical aspects as phrase
shaping, the rise and
fall of the melodic line,
blending and proper
intonation between
sections.One strategy
that could be used to
ensure proper phrasing is
the idea of
“Painting the
Phrase.†The singer
should make a motion as
if they have a paintbrush
in their hand and
“paint†the
melodic line and phrase
shape as if they are
painting with a nice,
flowing brush stroke. One
could think about
painting a rainbow or an
arch to show the rise and
fall of the line and/or
phrase. The director can
also show this gesture
while conducting to
reinforce this
concept.
Rhenish Symphony - Urtext. Composed by Robert Schumann. Edited by Joachim...(+)
Rhenish Symphony -
Urtext. Composed by
Robert Schumann. Edited
by Joachim Draheim.
Symphony.
Orchester-Bibliothek
(Orchestral Library). The
5 study scores of the
symphonies (incl. early
version of the 4th
symphony) in slipcase are
temporarily out of print.
The single editions are,
however, still available.
Romantic. Violoncello
part. Breitkopf and
Haertel #OB 5263-23.
Published by Breitkopf
and Haertel
(BR.OB-5263-23).
0.48
Rhenish Symphony - Urtext. Composed by Robert Schumann. Edited by Joachim...(+)
Rhenish Symphony -
Urtext. Composed by
Robert Schumann. Edited
by Joachim Draheim.
Symphony.
Orchester-Bibliothek
(Orchestral Library). The
5 study scores of the
symphonies (incl. early
version of the 4th
symphony) in slipcase are
temporarily out of print.
The single editions are,
however, still available.
Romantic. Violin 2 part.
Breitkopf and Haertel #OB
5263-16. Published by
Breitkopf and Haertel
(BR.OB-5263-16).
0.48
Cello - very easy SKU: BT.DOW-03701-400 Composed by Josef Hofer. Kompendi...(+)
Cello - very easy
SKU:
BT.DOW-03701-400
Composed by Josef Hofer.
Kompendium. Educational
Tool. Book with CD.
Dowani #DOW 03701-400.
Published by Dowani
(BT.DOW-03701-400).
ISBN 9783905477023.
International.
1
Harry Schneemann: Spuren
im Schnee -
Schülerstimme2 Harry
Schneemann: Spuren im
Schnee - Lehrerstimme3
Peter Pffffff: Die
Luftmatratze -
Schülerstimme4 Peter
Pffffff: Die Luftmatratze
- Lehrerstimme
Bij
de Kompendiums
(handboeken) gaat het
niet om een traditionele
methode, maar om een
didactisch verantwoorde
verzameling van
oefeningen en stukken.
Naast korte muziekstukken
staan in de handboeken
toonladder- en
drieklankoefeningenevenal
s
‘kleineetudesâ€
; bij elk deel horen
twee meespeel-cd’s
en verschillende stickers
herinneren de leerlingen
aan belangrijke
onderwerpen - en wie
voldoende stukken heeft
geoefend, ontvangt aan
het einde van elk deel
als beloningeen oorkonde.
De handboekenkunnen als
op zichzelf staande
lesboeken worden
gebruikt, maar zijn ook
geschikt als aanvulling
op andere methodeboeken
voor strijkers. Het
bijzondere is dat de
leerlingen alle stukken
en
oefeningendaadwerkelijk
doorwerken en zo snel
vorderingenmaken. De
handboeken zijn door de
succesvolle pedagoog
Josef Hofer bewerkt en
zijn verschenen in het
Duits. Kompendium
für Cello, Band
1allereerste begin
met open snaren•
elementaire stokindeling
• introductie van
de vingers van de
linkerhand1 Harry
Schneemann: Spuren im
Schnee -
Schülerstimme2 Harry
Schneemann: Spuren im
Schnee - Lehrerstimme3
Peter Pffffff: Die
Luftmatratze -
Schülerstimme4 Peter
Pffffff: Die Luftmatratze
- Lehrerstimme
Bei
den Kompendien für
Cello handelt es sich
nicht um eine Schule im
herkömmlichen Sinn,
sondern um eine
didaktisch orientierte
Sammlung von Ãœbungen
und Stücken. Die
Kompendien orientieren
sich an den
traditionellen Schulen
von Küchler,Doflein,
Rolland und anderen
berühmten
Pädagogen, sind aber
inhaltlich und von der
Aufmachung her an die
heutige Zeit angepasst:
Neben kleinen
Musikstücken findet
man Tonleiter- und
Dreiklangübungen sowie
Etüdchen“, zu
jedem Band gibt es zwei
CDszum Mitspielen,
verschiedene Aufkleber
erinnern die Schüler
an wichtige Dinge - und
wer genügend Stücke
geübt hat, erhält
am Ende jedes Bandes zur
Belohnung ein Zeugnis.
Die Kompendien können
alseigenes Lehrwerk, aber
auch ergänzend zu
anderenInstrumentalschule
n für Streicher
verwendet werden. Das
Besondere an den
Kompendien ist, dass die
Schüler alle Stücke
und Ãœbungen
tatsächlich
durcharbeiten und dadurch
sehr schnell Fortschritte
machen.Kompendium
für Cello,
Allererster Anfang mit
leeren SaitenElementare
BogeneinteilungEinführ
ung der Finger der linken
HandEtüdchenFingertabe
lleTonleiternDreiklangÃ
bungen1 Harry
Schneemann: Spuren im
Schnee -
Schülerstimme2 Harry
Schneemann: Spuren im
Schnee - Lehrerstimme3
Peter Pffffff: Die
Luftmatratze -
Schülerstimme4 Peter
Pffffff: Die Luftmatratze
- Lehrerstimme.
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Floor
Tom, Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Tambourine and more. -
Grade 1.5
SKU:
CF.FPS156
Composed by
Joseph Compello. Folio.
Fps. Set of Score and
Parts.
8+2+4+4+2+5+2+2+4+4+4+6+2
+3+2+1+2+3+16 pages.
Duration 2 minutes, 50
seconds. Carl Fischer
Music #FPS156. Published
by Carl Fischer Music
(CF.FPS156).
ISBN
9781491156360. UPC:
680160914906. 9 x 12
inches.
Personal
Note My high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in Baltimore City. He was
my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life's course on
the path of music.
Performance Notes The
idea for Ghost Chasers is
to have a spooky tune (m.
9, Trumpets) chasing
around in simple
counterpoint between two
sections. (See m. 19).
Students will find the
independent part playing
both challenging and fun.
In the contrasting
section at m. 30, young
students will gain
experience in changing
their articulation from
marcato to legato.
Obeying the cues for low
brass in this section is
recommended, but
depending on the
instrumentation of the
band, directors may
disregard the cues if
necessary. Directors may
also wish to take the
opportunity to teach a
lesson about major and
minor keys and discuss
why the tune at m. 9
sounds spooky and the
theme at m. 30 sound
lighthearted. Overall,
the main challenge for
this piece is balance.
For the chaser idea to be
effective the
half-measure lag between
the two sections playing
the same tune must be
easily heard. Even more
attention to balance must
be paid at m. 45, where
the spooky theme is added
to the chasing theme. If
Clarinets can play
third-line written D, use
it instead of the
alternate cued note. If
three Timpani are not
available, omit the note
D. Personal NoteMy
high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in Baltimore City. He was
my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life’s
course on the path of
music.Performance
NotesThe idea for Ghost
Chasers is to have a
spooky tune (m. 9,
Trumpets) chasing around
in simple counterpoint
between two sections.
(See m. 19). Students
will find the independent
part playing both
challenging and fun.In
the contrasting section
at m. 30, young students
will gain experience in
changing their
articulation from marcato
to legato. Obeying the
cues for low brass in
this section is
recommended, but
depending on the
instrumentation of the
band, directors may
disregard the cues if
necessary. Directors may
also wish to take the
opportunity to teach a
lesson about major and
minor keys and discuss
why the tune at m. 9
sounds spooky and the
theme at m. 30 sound
lighthearted.Overall, the
main challenge for this
piece is balance. For the
“chaser†idea
to be effective the
half-measure lag between
the two sections playing
the same tune must be
easily heard. Even more
attention to balance must
be paid at m. 45, where
the “spookyâ€
theme is added to the
“chasingâ€
theme.If Clarinets can
play third-line written
D, use it instead of the
alternate cued note. If
three Timpani are not
available, omit the note
D.
Concert Band/Harmonie/Fanfare/Bra ss Band - Grade 2 SKU: HL.44007224 B...(+)
Concert
Band/Harmonie/Fanfare/Bra
ss Band - Grade 2
SKU:
HL.44007224
Based
on 'From Highest Heaven I
Come to Tell'.
Composed by Giovanni
Taeggio and Hans Leo
Hassler. Arranged by Jan
de Haan. De Haske Concert
Band. Score Only.
Composed 1998. Hal
Leonard #981154.
Published by Hal Leonard
(HL.44007224).
UPC:
884088243548.
The
words and lyrics of the
Christmas Carol From
Highest Heaven I Come To
Tell were written by
the great Martin Luther
(1483-1546) and can be
found in The Hymns of
Martin Luther. Martin
Luther expressed radical
views which began the
reformation movement. His
followers protested at
the treatment given to
Martin Luther, the event
from which the term
'Protestant' was derived.
It was first published in
Joseph Klug's
Gesangsbuch in
around 1535. Add a
majestic Baroque feel to
any concert with this
simple yet effective
arrangement.
The
words and lyrics of the
Christmas Carol From
Highest Heaven I Come To
Tell were written by
the great Martin Luther
(1483-1546) and can be
found in The Hymns of
Martin Luther. Martin
Luther expressed radical
viewswhich began the
reformation movement. His
followers protested at
the treatment given to
Martin Luther, the event
from which the term
'Protestant' was derived.
It was first published in
Joseph Klug's
Gesangsbuch in
around 1535.Add a
majestic Baroque feel to
any concert with this
simple yet effective
arrangement.
Diese
Bearbeitung des beruhmten
Liedes Vom Himmel
hoch, da komm' ich
her von Martin Luther
stammt aus der gewandten
Feder von Jan de Haan. In
vier Teilen verarbeitete
er die festliche Melodie
und machte sie fur
variable Besetzung
spielbar.
The
words and lyrics of the
Christmas Carol From
Highest Heaven I Come To
Tell were written by
the great Martin Luther
(1483-1546) and can be
found in The Hymns of
Martin Luther. Martin
Luther expressed radical
views which began the
reformation movement. His
followers protested at
the treatment given to
Martin Luther, the event
from which the term
'Protestant' was derived.
It was first published in
Joseph Klug's
Gesangsbuch in
around 1535. Add a
majestic Baroque feel to
any concert with this
simple yet effective
arrangement.
The
words and lyrics of the
Christmas Carol From
Highest Heaven I Come To
Tell were written by
the great Martin Luther
(1483-1546) and can be
found in The Hymns of
Martin Luther. Martin
Luther expressed radical
views which began the
reformation movement. His
followers protested at
the treatment given to
Martin Luther, the event
from which the term
'Protestant' was derived.
It was first published in
Joseph Klug's
Gesangsbuch in
around 1535. Add a
majestic Baroque feel to
any concert with this
simple yet effective
arrangement.
SKU: CA.5021900 Composed by Josef Gabriel Rheinberger. Edited by Barbara ...(+)
SKU: CA.5021900
Composed by Josef Gabriel
Rheinberger. Edited by
Barbara Mohn. This
edition: Complete
edition, linen cover.
Josef Gabriel Rheinberger
- Complete Works. German
title: Weltliche
Chormusik I. Gleiche Sti.
Lieder for choir, Secular
choral music, New year.
Full score (complete
edition / selected
edition). 264 pages.
Carus Verlag #CV
50.219/00. Published by
Carus Verlag
(CA.5021900).
ISBN
9790007087364.
Rhei
nberger's popularity
during his lifetime was
based, for the most part,
on his secular choral
music. His cycles for
men's and women's choir,
most of which were
commissioned works, are
contained in two volumes
of the Complete Edition
(vols. 19 and 20). Among
this music there are
humorous songs and
drinking songs, idyllic
settings of texts drawn
from nature, and songs in
a folk-like idiom which
are light and easily
performable, as well as
several more ambitious
compositions which were
written for choral
competitions in
Rheinberger's day.