Clarinet Etudes 5-8 Clarinette - Intermédiaire The Frederick Harris Music Company
Clarinet - Intermediate to Late Intermediate SKU: FH.WCS2 Clarinet Ser...(+)
Clarinet - Intermediate
to Late Intermediate
SKU: FH.WCS2
Clarinet Series, 2013
Edition. Composed by
The Royal Conservatory.
Clarinet Series, 2013
Edition. Book. 64 pages.
The Frederick Harris
Music Company #WCS2.
Published by The
Frederick Harris Music
Company (FH.WCS2).
ISBN
978-1-55440-586-2.
This new series offers a
sequenced approach to the
study of clarinet from
the beginner to advanced
levels. With a
progressive collection of
Repertoire, Etudes,
Recordings, Orchestral
Excerpts, and Technique,
the Clarinet Series, 2014
Edition provides complete
support for teachers and
students at every level
of study. Nine
progressive volumes of
Repertoire expose
students to a wealth of
music from the earliest
works for clarinet to
accompanied and
unaccompanied
contemporary
compositions. Students
will explore some of the
most definitive solo
pieces written for
clarinet, along with
popular folk tunes,
Klezmer melodies,
Classical solos, and
contemporary compositions
that incorporate
traditional and extended
techniques. Level
5: Etude in A Major -
Friedrich
Demnitz Exercise XIV -
Reginald Kell Etude in
C Major - Chris
Allen Etude in F Major
- Randall
Cunningham Etude in C
Major, op. 63, division
2, no. 10 - Carl
Baermann Shifting
Winds - James Rae The
Unexpected - James
Rae Dai's Surprise -
James Rae Level
6: Etude in E Major -
Friedrich Demnitz Rag
- Randall
Cunningham Etude in F
Major - Friedrich
Demnitz Gigue - Johann
Sebastian Bach Black
Puddin' Jig - James
Rae Elegie - James
Rae Etude in F sharp
Minor - Ivan
Mueller Romance, op.
63, division 2, no. 14 -
Carl Baermann Etude
No. 1 - Alfred
Uhl Cello Suite No. 1
in G Major, BWV 1007,
Menuet I and Menuet II -
Johann Sebastian
Bach Journeys - James
Rae A Sad Loss - James
Rae Serenade - Leon
Lester Level 7: Odd
Meter Etude No. 5 -
Everett Gates Etude in
A Minor - Ernst Sachse,
arr. Leon Lester Text
Book Prelude - James
Rae Bald lacheln mir
seelige Tage: Theme and
Variation I - Anton
Stadler Etude in C
Major, op. 31, no. 6 -
Franz Wilhelm Ferling,
arr. Cyrille
Rose Etude in A Minor
- Hyacinthe Klose, arr.
Leon Lester Etude in A
Minor, op. 3, no. 22 -
Federigo Fiorillio, arr.
Cyrille Rose Courante
- Johann Sebastian
Bach Etude in C Major,
op. 31, no. 5 - Franz
Wilhelm Ferling, arr.
Cyrille Rose Etude in
F Major - Alfred
Uhl Boo! - James
Rae Etude in D Minor -
Friedrich Demnitz, arr.
Leon Lester Level
8: Courante - Johann
Sebastian Bach Etude
in A Minor, op. 31, no. 8
- Franz Wilhelm Ferling,
arr. Cyrille
Rose Etude in A Minor
- Alfred Uhl Mr.
Pritchard's Bad Hair Day
- James Rae Etude in G
Major, op. 63, division
2, no. 43 - Carl
Baermann Questions and
Answers - James
Rae Etude in A Minor,
op. 31, no. 7 - Franz
Wilhelm Ferling, arr.
Cyrille Rose Romance
-Ludwig
Wiedemann Allemande -
Johann Sebastian
Bach Etude in E Minor,
op. 31, no. 3 - Franz
Wilhelm Ferling, arr.
Cyrille Rose Odd Meter
Etude No. 9 - Everett
Gates Etude No. 60 -
Paul Harris.
Chorus a cappella SKU: BR.DV-7651-02 Theme and Variations - First Vers...(+)
Chorus a cappella
SKU:
BR.DV-7651-02
Theme and Variations -
First Version 1936.
Composed by Hanns Eisler.
Choir; stapled. Deutscher
Verlag. Early modern;
Music post-1945. Choral
score. 12 pages.
Deutscher Verlag fur
Musik #DV 7651-02.
Published by Deutscher
Verlag fur Musik
(BR.DV-7651-02).
ISBN
9790200470420. 9 x 12
inches.
German.
The
score was written for a
competition advertised by
a private chorus in
Switzerland. Arthur
Honegger, Ernst Krenek
and Paul Sacher were on
the jury. The two prizes
were awarded to the Swiss
composers Heinrich
Sutermeister and Johannes
Zentner.
SATB Chorus, a cappella SKU: SU.80101359 For SATB Chorus, a cappella(+)
SATB Chorus, a cappella
SKU: SU.80101359
For SATB Chorus, a
cappella. Composed by
Carson Cooman.
Vocal/Choral, Sacred
Choral. Choral Octavo.
Zimbel Press #80101359.
Published by Zimbel Press
(SU.80101359).
Commissioned by
King’s Chapel,
Boston, Massachusetts, in
celebration of its 325th
anniversary, this longer
a cappella work uses a
text assembled and
adapted from various
Biblical passages. From
the composer's
introduction: The anthem
begins grandly with words
from Psalm 89 celebrating
God’s
all-encompassing
faithfulness and love. An
alleluia refrain follows
and returns several times
throughout the work.
However, it is not a
majestic, Handelian
alleluia, but rather one
of inward passion and
fervent introspection.
The next section begins
joyously with the
familiar prophesy from
Zechariah; it is followed
by several brief Gospel
scenes from the life of
Jesus. After another
alleluia, words of
blessing from Psalm 103
are set vigorously before
the work closes with a
final alleluia. Recorded
on the CD The Welcome
News: Choral Music of
Carson Cooman
(Gothic)SATB Chorus, a
cappella Composed: 2011
Published by: Zimbel
Press Minimum order
quantity: 8 copies.
Perusal copies are
available by contacting
perusalrequest@subitomusi
c.com (include the
organization name with
your request). To order
quantities fewer than 8,
please call customer
service at (973)
857-3440.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
SSATB Choral (SSATB a cappella) SKU: HL.1437384 Composed by Cheryl Engelh...(+)
SSATB Choral (SSATB a
cappella)
SKU:
HL.1437384
Composed
by Cheryl Engelhardt.
Hinshaw Music. Octavo.
Hinshaw Music #HMC2726.
Published by Hinshaw
Music (HL.1437384).
UPC:
196288204497.
“Th
e Listening,” written
by Grammy-nominated
composer Cheryl B.
Engelhardt in December
2017 for VOICES 21C under
the artistic direction of
André de Quadros, draws
its inspiration from Dr.
Martin Luther King Jr.'s
impactful 1967 speech,
“Beyond Vietnam: A Time
to Break Silence.” This
dynamic, emotion-filled
piece expresses King's
call to end societal
silence. The rhythmic
elements in the piece are
derived from the poetic
nature of King's speech.
The inclusion of a
children's choir,
inspired by the Parkland
school shooting and
subsequent protests,
symbolizes the disruption
of childhood peace by
violence. Notably, the
virtual collaboration,
featuring Donzaleigh
Abernathy, Dr. King's
goddaughter, emphasizes
the song's contemporary
relevance in addressing
social issues, and was
featured in PEOPLE.
Premiered live at the
Massachusetts Music
Educators Conference in
2018 by VOICES 21C, and
digitally released during
Black History month in
2021, “The Listening”
stands as a profound
anthem for breaking
silence and to foster
positive change.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.