Frida's Whiskers Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000777-140 Composed by David ...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000777-140
Composed by David Well.
Score Only. 24 pages.
Gobelin Music
Publications #GOB
000777-140. Published by
Gobelin Music
Publications
(BT.GOB-000777-140).
David Well
composed 'Frida's
Whiskers' in
commemoration of his own
cat, who met an untimely
end. Frida (whose
real name was 'Godefrida
van Coopersburg thoe
Nieuwenhuys') was a
lively creature, who led
a playful and
uncomplicated life.
She used to sleep in
her basket for hours, but
when she woke up she
upset the entire house
and its furnishing.
Curtains were
inspected from top to
bottom and flower pots
fell from window-sills
just like that!
Outside, in the open air
she was in her element.
She used to frolic,
bouncing into the
air. After such
playful moods she would
return to her basket
tired but satisfied
where, being the cleanly
cat that shewas, she
subjected her entire
body, whiskers included,
to a thorough wash.
David Well
componeerde 'Frida's
Whiskers' ter
nagedachtenis aan zijn
erg jong gestorven
kat. Frida (haar
volledige naam luidde
'Godefrida van
Coopersburg thoe
Nieuwenhuys') was een
levenslustig beestje dat
een speels en
onbekommerdleven
leidde. Zo kon ze
vaak urenlang in haar
mand liggen te slapen tot
op zeker moment het
complete huis en haar
inrichting onveilig
gemaakt werden.
Gordijnen werden van
onder tot boven
ge?nspecteerd en
bloempottenvielen pardoes
uit de vensterbank.
In de buitenlucht was ze
in haar element. Ze
sprong soms met alle
poten tegelijk de lucht
in. Na een speelse
bui keerde ze moe maar
voldaan terug in haar
mand waar, zo proper
alsze was, het hele
lichaam, inclusief
snorharen, aan een
grondige wasbeurt werden
onderworpen.
Violin, piano (solo: vl - 2.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.EB-9374 ...(+)
Violin, piano (solo: vl -
2.2.2.2 - 2.2.0.0 - timp
- str)
SKU:
BR.EB-9374
Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Birgit Muller. Solo
instruments; stapled.
Edition Breitkopf. Solo
concerto; Romantic. Piano
reduction. 92 pages.
Duration 25'. Breitkopf
and Haertel #EB 9374.
Published by Breitkopf
and Haertel (BR.EB-9374).
ISBN 9790004188446. 9
x 12 inches.
Felix
Mendelssohn Bartholdy
created a standard work
with his final violin
concerto in E minor op.
64 MWV O 14 that is now
firmly established in
today's concert
repertoire. When in 1838
the composer indicated
that he had in mind a
violin concerto [...] in
E minor [...], it was not
only his friend Ferdinand
David, the Gewandhaus
concertmaster for whom it
was intended, who was
euphoric. The whole
civilized violin world
was awaiting this
concerto - and yet it was
another seven years
before the
much-anticipated
composition was
ultimately published by
the Leipzig publishing
house Breitkopf & Hartel
in June 1845, as well as
simultaneously in London
and Milan. The concerto
particularly appeals
through its innovative
treatment of the solo
part, not only because
the solo violin
strikingly opens the
first movement without a
preceding orchestral
tutti, but also because
of its musical dialogue
with the orchestra. The
Leipzig Gewandhaus
premiere on 13 March 1845
with Ferdinand David as
soloist under the
direction of Nils Wilhelm
Gade served - as so
frequently with
Mendelssohn - virtually
as a proofreading
process. After the
composer subsequently
made extensive changes
that also involved David,
the work first appeared
just short of nine months
later. The first edition
documents the composer's
valid final revision,
which is reproduced as
the work's main version
in the present Urtext
edition. The matching
piano reduction includes
not only an unmarked
string part, but also a
part with the established
markings by Igor
Oistrach.
Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Birgit Muller.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Solo concerto; Romantic.
Part. 8 pages. Duration
25'. Breitkopf and
Haertel #OB 5645-23.
Published by Breitkopf
and Haertel
(BR.OB-5645-23).
ISBN
9790004344873. 10 x 12.5
inches.
Felix
Mendelssohn Bartholdy
created a standard work
with his final violin
concerto in E minor op.
64 MWV O 14 that is now
firmly established in
today's concert
repertoire. When in 1838
the composer indicated
that he had in mind a
violin concerto [...] in
E minor [...], it was not
only his friend Ferdinand
David, the Gewandhaus
concertmaster for whom it
was intended, who was
euphoric. The whole
civilized violin world
was awaiting this
concerto - and yet it was
another seven years
before the
much-anticipated
composition was
ultimately published by
the Leipzig publishing
house Breitkopf & Hartel
in June 1845, as well as
simultaneously in London
and Milan. The concerto
particularly appeals
through its innovative
treatment of the solo
part, not only because
the solo violin
strikingly opens the
first movement without a
preceding orchestral
tutti, but also because
of its musical dialogue
with the orchestra. The
Leipzig Gewandhaus
premiere on 13 March 1845
with Ferdinand David as
soloist under the
direction of Nils Wilhelm
Gade served - as so
frequently with
Mendelssohn - virtually
as a proofreading
process. After the
composer subsequently
made extensive changes
that also involved David,
the work first appeared
just short of nine months
later. The first edition
documents the composer's
valid final revision,
which is reproduced as
the work's main version
in the present Urtext
edition.The matching
piano reduction includes
not only an unmarked
string part, but also a
part with the established
markings by Igor
Oistrach.
Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Birgit Muller.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Solo concerto; Romantic.
Part. 12 pages. Duration
25'. Breitkopf and
Haertel #OB 5645-15.
Published by Breitkopf
and Haertel
(BR.OB-5645-15).
ISBN
9790004344729. 10 x 12.5
inches.
Felix
Mendelssohn Bartholdy
created a standard work
with his final violin
concerto in E minor op.
64 MWV O 14 that is now
firmly established in
today's concert
repertoire. When in 1838
the composer indicated
that he had in mind a
violin concerto [...] in
E minor [...], it was not
only his friend Ferdinand
David, the Gewandhaus
concertmaster for whom it
was intended, who was
euphoric. The whole
civilized violin world
was awaiting this
concerto - and yet it was
another seven years
before the
much-anticipated
composition was
ultimately published by
the Leipzig publishing
house Breitkopf & Hartel
in June 1845, as well as
simultaneously in London
and Milan. The concerto
particularly appeals
through its innovative
treatment of the solo
part, not only because
the solo violin
strikingly opens the
first movement without a
preceding orchestral
tutti, but also because
of its musical dialogue
with the orchestra. The
Leipzig Gewandhaus
premiere on 13 March 1845
with Ferdinand David as
soloist under the
direction of Nils Wilhelm
Gade served - as so
frequently with
Mendelssohn - virtually
as a proofreading
process. After the
composer subsequently
made extensive changes
that also involved David,
the work first appeared
just short of nine months
later. The first edition
documents the composer's
valid final revision,
which is reproduced as
the work's main version
in the present Urtext
edition.The matching
piano reduction includes
not only an unmarked
string part, but also a
part with the established
markings by Igor
Oistrach.
Frida's Whiskers Ensemble de cuivres [Conducteur] - Facile Gobelin Music Publications
Brass Band - Grade 3 SKU: BT.GOB-000822-130 Composed by David Well. Score...(+)
Brass Band - Grade 3
SKU:
BT.GOB-000822-130
Composed by David Well.
Score Only. 12 pages.
Gobelin Music
Publications #GOB
000822-130. Published by
Gobelin Music
Publications
(BT.GOB-000822-130).
David Well
composed 'Frida's
Whiskers' in
commemoration of his own
cat, who met an untimely
end. Frida (whose
real name was 'Godefrida
van Coopersburg thoe
Nieuwenhuys') was a
lively creature, who led
a playful and
uncomplicated life.
She used to sleep in
her basket for hours, but
when she woke up she
upset the entire house
and its furnishing.
Curtains were
inspected from top to
bottom and flower pots
fell from window-sills
just like that!
Outside, in the open air
she was in her element.
She used to frolic,
bouncing into the
air. After such
playful moods she would
return to her basket
tired but satisfied
where, being the cleanly
cat that shewas, she
subjected her entire
body, whiskers included,
to a thorough wash.
David Well
componeerde 'Frida's
Whiskers' ter
nagedachtenis aan zijn
erg jong gestorven
kat. Frida (haar
volledige naam luidde
'Godefrida van
Coopersburg thoe
Nieuwenhuys') was een
levenslustig beestje dat
een speels en
onbekommerdleven
leidde. Zo kon ze
vaak urenlang in haar
mand liggen te slapen tot
op zeker moment het
complete huis en haar
inrichting onveilig
gemaakt werden.
Gordijnen werden van
onder tot boven
ge?nspecteerd en
bloempottenvielen pardoes
uit de vensterbank.
In de buitenlucht was ze
in haar element. Ze
sprong soms met alle
poten tegelijk de lucht
in. Na een speelse
bui keerde ze moe maar
voldaan terug in haar
mand waar, zo proper
alsze was, het hele
lichaam, inclusief
snorharen, aan een
grondige wasbeurt werden
onderworpen.
Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Birgit Muller.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library).
Solo concerto; Romantic.
Set of parts. 96 pages.
Duration 25'. Breitkopf
and Haertel #OB 5645-30.
Published by Breitkopf
and Haertel
(BR.OB-5645-30).
ISBN
9790004344767. 10 x 12.5
inches.
Felix
Mendelssohn Bartholdy
created a standard work
with his final violin
concerto in E minor op.
64 MWV O 14 that is now
firmly established in
today's concert
repertoire. When in 1838
the composer indicated
that he had in mind a
violin concerto [...] in
E minor [...], it was not
only his friend Ferdinand
David, the Gewandhaus
concertmaster for whom it
was intended, who was
euphoric. The whole
civilized violin world
was awaiting this
concerto - and yet it was
another seven years
before the
much-anticipated
composition was
ultimately published by
the Leipzig publishing
house Breitkopf & Hartel
in June 1845, as well as
simultaneously in London
and Milan. The concerto
particularly appeals
through its innovative
treatment of the solo
part, not only because
the solo violin
strikingly opens the
first movement without a
preceding orchestral
tutti, but also because
of its musical dialogue
with the orchestra. The
Leipzig Gewandhaus
premiere on 13 March 1845
with Ferdinand David as
soloist under the
direction of Nils Wilhelm
Gade served - as so
frequently with
Mendelssohn - virtually
as a proofreading
process. After the
composer subsequently
made extensive changes
that also involved David,
the work first appeared
just short of nine months
later. The first edition
documents the composer's
valid final revision,
which is reproduced as
the work's main version
in the present Urtext
edition.The matching
piano reduction includes
not only an unmarked
string part, but also a
part with the established
markings by Igor
Oistrach.
Frida's Whiskers Fanfare [Conducteur] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000609-120 Composed by David Well. Sco...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000609-120
Composed by David Well.
Score Only. Gobelin Music
Publications #GOB
000609-120. Published by
Gobelin Music
Publications
(BT.GOB-000609-120).
David Well
composed 'Frida's
Whiskers' in
commemoration of his own
cat, who met an untimely
end. Frida (whose
real name was 'Godefrida
van Coopersburg thoe
Nieuwenhuys') was a
lively creature, who led
a playful and
uncomplicated life.
She used to sleep in
her basket for hours, but
when she woke up she
upset the entire house
and its furnishing.
Curtains were
inspected from top to
bottom and flower pots
fell from window-sills
just like that!
Outside, in the open air
she was in her element.
She used to frolic,
bouncing into the
air. After such
playful moods she would
return to her basket
tired but satisfied
where, being the cleanly
cat that shewas, she
subjected her entire
body, whiskers included,
to a thorough wash.
David Well
componeerde 'Frida's
Whiskers' ter
nagedachtenis aan zijn
erg jong gestorven
kat. Frida (haar
volledige naam luidde
'Godefrida van
Coopersburg thoe
Nieuwenhuys') was een
levenslustig beestje dat
een speels en
onbekommerdleven
leidde. Zo kon ze
vaak urenlang in haar
mand liggen te slapen tot
op zeker moment het
complete huis en haar
inrichting onveilig
gemaakt werden.
Gordijnen werden van
onder tot boven
ge?nspecteerd en
bloempottenvielen pardoes
uit de vensterbank.
In de buitenlucht was ze
in haar element. Ze
sprong soms met alle
poten tegelijk de lucht
in. Na een speelse
bui keerde ze moe maar
voldaan terug in haar
mand waar, zo proper
alsze was, het hele
lichaam, inclusief
snorharen, aan een
grondige wasbeurt werden
onderworpen.
Frida's Whiskers Fanfare [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000609-020 Composed by David Well. Set...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000609-020
Composed by David Well.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000609-020. Published by
Gobelin Music
Publications
(BT.GOB-000609-020).
David Well
composed 'Frida's
Whiskers' in
commemoration of his own
cat, who met an untimely
end. Frida (whose
real name was 'Godefrida
van Coopersburg thoe
Nieuwenhuys') was a
lively creature, who led
a playful and
uncomplicated life.
She used to sleep in
her basket for hours, but
when she woke up she
upset the entire house
and its furnishing.
Curtains were
inspected from top to
bottom and flower pots
fell from window-sills
just like that!
Outside, in the open air
she was in her element.
She used to frolic,
bouncing into the
air. After such
playful moods she would
return to her basket
tired but satisfied
where, being the cleanly
cat that shewas, she
subjected her entire
body, whiskers included,
to a thorough wash.
David Well
componeerde 'Frida's
Whiskers' ter
nagedachtenis aan zijn
erg jong gestorven
kat. Frida (haar
volledige naam luidde
'Godefrida van
Coopersburg thoe
Nieuwenhuys') was een
levenslustig beestje dat
een speels en
onbekommerdleven
leidde. Zo kon ze
vaak urenlang in haar
mand liggen te slapen tot
op zeker moment het
complete huis en haar
inrichting onveilig
gemaakt werden.
Gordijnen werden van
onder tot boven
ge?nspecteerd en
bloempottenvielen pardoes
uit de vensterbank.
In de buitenlucht was ze
in haar element. Ze
sprong soms met alle
poten tegelijk de lucht
in. Na een speelse
bui keerde ze moe maar
voldaan terug in haar
mand waar, zo proper
alsze was, het hele
lichaam, inclusief
snorharen, aan een
grondige wasbeurt werden
onderworpen.
By Bonnie Rideout. For Fiddle. Solos. Encyclopedia. Scottish. Level: Intermediat...(+)
By Bonnie Rideout. For
Fiddle. Solos.
Encyclopedia. Scottish.
Level: Intermediate.
Book. Size 8.75x11.75.
136 pages. Published by
Mel Bay Publications,
Inc.
O Christmas Tree Fanfare [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000854-020 Arranged by David Well. Set...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000854-020
Arranged by David Well.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000854-020. Published by
Gobelin Music
Publications
(BT.GOB-000854-020).
The tradition
of the Christmas tree in
Western Europe dates back
to a time long before any
Christianization had
taken place. During the
severely cold winter
nights, so it was
believed, evil spirits
tried to ‘kill’
nature. Needle-leaved
trees were the only ones
which kept their green
colour throughout the
year, and therefore
became symbols of
immortality. These
‘living’ trees, said
to be the work of benign
spirits, were brought
into people’s houses to
ward off evil,
life-threatening powers.
In the 14th century
people first started to
decorate Christmas trees.
It was a pagan custom,
originated by the
inhabitants of Alsace.
This custom was taken
over by the Church in
thecourse of the 15th and
16th century. At first
the decoration consisted
mainly of edibles, such
as apples and wafers, but
later small presents were
added. Legend has it that
the reformer Martin
Luther was the first
person to decorate a
Christmas tree with
candles. The flickering
candle flames were meant
to create the image of a
starry sky in which
Christ’s apparition
could be recognized. The
German organ-player Ernst
Anschütz from Leipzig
was the first person to
notate the song ‘O
Tannenbaum’, the melody
being a well-known folk
song. Next to ‘Stille
Nacht’ ‘O
Tannenbaum’ is the most
famous German Christmas
song, now known
throughout the world. In
the United States of
America the melody of
‘O Tannenbaum’ has
even been used in four
States (among which the
State of Maryland) for
their State song. In
David Well’s
arrangement the song is
first heard as many of us
know it. After this
introduction, however, it
is transformed into a
solid rock version, and
the beat has been
changed. In the second
part the familiar
three-four time is back,
but here the rhythm is
different from the
original. After the
richly ornamented rock
beat the basic theme can
be heard once again and
the composition is
concluded in a festive
manner.
De
traditie van de
‘Kerstboom’ gaat in
West-Europa terug tot ver
voordat er van enige
kerstening sprake was.
Gedurende de koude
strenge winters dacht men
dat kwade geesten de
natuur ‘vermoordde’.
Naaldbomen behielden als
enige hungroene kleur en
werden daardoor symbolen
van onsterflijkheid. Deze
‘levende’ bomen, het
werk van goede machten,
werden in huis gehaald om
kwade geesten en
levensbedreigende
krachten buitenshuis te
houden. Van
‘versierde’
kerstbomenwas het eerst
sprake in de 14e eeuw.
Het was een heidens
gebruik, dat in deze
periode in de Elzas
voorkwam. Tijdens de 15e
en 16e eeuw werd het
versieren van de
kerstboom door de kerk
overgenomen. De
versiering bestond in
eersteinstantie vooral
uit etenswaar, als appels
en koekjes. Later ging
men ook kleine cadeautjes
als versiering gebruiken.
Er wordt beweerd dat
Martin Luther, de
hervormer, als eerste
kaarsen in een kerstboom
deed. De
fonkelendevlammetjes
creëerden een
sterrenhemel waarin men
Christus’ verschijning
leek te herkennen. De
Duitse organist Ernst
Anschütz uit Leipzig,
was de eerste die het
lied ‘O Tannenbaum’
op schrift stelde. De
melodie was een bekend
volkswijsje.Naast
‘Stille Nacht’ is
‘O Tannenbaum’ het
meest bekende kerstlied
dat vanuit Duitsland de
hele wereld veroverde. De
melodie van ‘O
Tannenbaum’ wordt zelfs
in de Verenigde Staten
van Amerika in vier
verschillende staten(o.a.
Maryland) als volkslied
gebruikt. In het
arrangement van David
Well hoort u het lied
eerst op de manier zoals
velen het kennen. Na deze
inleiding klinkt een
stevige rock-versie en is
de maatsoort niet meer de
gebruikelijke.Het
tussendeel is weer in de
vertrouwde
driekwarts-maatsoort.
Hier is echter de ritmiek
in een ander jasje
gestoken. Na de rijkelijk
met slingers versierde
rock-beat klinkt nog
één keer het
oorspronkelijke thema om
daarna feestelijk.
O Christmas Tree Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000905-010 Arranged by David ...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000905-010
Arranged by David Well.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000905-010. Published by
Gobelin Music
Publications
(BT.GOB-000905-010).
The tradition
of the Christmas tree in
Western Europe dates back
to a time long before any
Christianization had
taken place. During the
severely cold winter
nights, so it was
believed, evil spirits
tried to 'kill' nature.
Needle-leaved trees were
the only ones which kept
their green colour
throughout the year, and
therefore became symbols
of immortality. These
'living' trees, said to
be the work of benign
spirits, were brought
into people's houses to
ward off evil,
life-threatening powers.
In the 14th century
people first started to
decorate Christmas trees.
It was a pagan custom,
originated by the
inhabitants of Alsace.
This custom was taken
over by the Church inthe
course of the 15th and
16th century. At first
the decoration consisted
mainly of edibles, such
as apples and wafers, but
later small presents were
added. Legend has it that
the reformer Martin
Luther was the first
person to decorate a
Christmas tree with
candles. The flickering
candle flames were meant
to create the image of a
starry sky in which
Christ's apparition could
be recognized. The German
organ-player Ernst
Anschütz from Leipzig
was the first person to
notate the song 'O
Tannenbaum', the melody
being a well-known folk
song. Next to 'Stille
Nacht' 'O Tannenbaum' is
the most famous German
Christmas song, now known
throughout the world. In
the United States of
America the melody of 'O
Tannenbaum' has even been
used in four States
(among which the State of
Maryland) for their State
song. In David Well's
arrangement the song is
first heard as many of us
know it. After this
introduction, however, it
is transformed into a
solid rock version, and
the beat has been
changed. In the second
part the familiar
three-four time is back,
but here the rhythm is
different from the
original. After the
richly ornamented rock
beat the basic theme can
be heard once again and
the composition is
concluded in a festive
manner.
De
traditie van de
‘Kerstboom’ gaat in
West-Europa terug tot ver
voordat er van enige
kerstening sprake was.
Gedurende de koude
strenge winters dacht men
dat kwade geesten de
natuur ‘vermoordde’.
Naaldbomen behielden als
enige hungroene kleur en
werden daardoor symbolen
van onsterflijkheid. Deze
‘levende’ bomen, het
werk van goede machten,
werden in huis gehaald om
kwade geesten en
levensbedreigende
krachten buitenshuis te
houden. Van
‘versierde’
kerstbomenwas het eerst
sprake in de 14e eeuw.
Het was een heidens
gebruik, dat in deze
periode in de Elzas
voorkwam. Tijdens de 15e
en 16e eeuw werd het
versieren van de
kerstboom door de kerk
overgenomen. De
versiering bestond in
eersteinstantie vooral
uit etenswaar, als appels
en koekjes. Later ging
men ook kleine cadeautjes
als versiering gebruiken.
Er wordt beweerd dat
Martin Luther, de
hervormer, als eerste
kaarsen in een kerstboom
deed. De fonkelende
vlammetjescreëerden een
sterrenhemel waarin men
Christus’ verschijning
leek te herkennen. De
Duitse organist Ernst
Anschütz uit Leipzig,
was de eerste die het
lied ‘O Tannenbaum’
op schrift stelde. De
melodie was een bekend
volkswijsje.Naast
‘Stille Nacht’ is
‘O Tannenbaum’ het
meest bekende kerstlied
dat vanuit Duitsland de
hele wereld veroverde. De
melodie van ‘O
Tannenbaum’ wordt zelfs
in de Verenigde Staten
van Amerika in vier
verschillende staten
(o.a.Maryland) als
volkslied gebruikt. In
het arrangement van David
Well hoort u het lied
eerst op de manier zoals
velen het kennen. Na deze
inleiding klinkt een
stevige rock-versie en is
de maatsoort niet meer de
gebruikelijke. Het
tussendeelis weer in de
vertrouwde
driekwarts-maatsoort.
Hier is echter de ritmiek
in een ander jasje
gestoken. Na de rijkelijk
met slingers versierde
rock-beat klinkt nog
één keer het
oorspronkelijke thema om
daarna feestelijk af.
O Christmas Tree Fanfare [Conducteur] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000854-120 Arranged by David Well. Sco...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000854-120
Arranged by David Well.
Score Only. 10 pages.
Gobelin Music
Publications #GOB
000854-120. Published by
Gobelin Music
Publications
(BT.GOB-000854-120).
The tradition
of the Christmas tree in
Western Europe dates back
to a time long before any
Christianization had
taken place. During the
severely cold winter
nights, so it was
believed, evil spirits
tried to ‘kill’
nature. Needle-leaved
trees were the only ones
which kept their green
colour throughout the
year, and therefore
became symbols of
immortality. These
‘living’ trees, said
to be the work of benign
spirits, were brought
into people’s houses to
ward off evil,
life-threatening powers.
In the 14th century
people first started to
decorate Christmas trees.
It was a pagan custom,
originated by the
inhabitants of Alsace.
This custom was taken
over by the Church in
thecourse of the 15th and
16th century. At first
the decoration consisted
mainly of edibles, such
as apples and wafers, but
later small presents were
added. Legend has it that
the reformer Martin
Luther was the first
person to decorate a
Christmas tree with
candles. The flickering
candle flames were meant
to create the image of a
starry sky in which
Christ’s apparition
could be recognized. The
German organ-player Ernst
Anschütz from Leipzig
was the first person to
notate the song ‘O
Tannenbaum’, the melody
being a well-known folk
song. Next to ‘Stille
Nacht’ ‘O
Tannenbaum’ is the most
famous German Christmas
song, now known
throughout the world. In
the United States of
America the melody of
‘O Tannenbaum’ has
even been used in four
States (among which the
State of Maryland) for
their State song. In
David Well’s
arrangement the song is
first heard as many of us
know it. After this
introduction, however, it
is transformed into a
solid rock version, and
the beat has been
changed. In the second
part the familiar
three-four time is back,
but here the rhythm is
different from the
original. After the
richly ornamented rock
beat the basic theme can
be heard once again and
the composition is
concluded in a festive
manner.
De
traditie van de
‘Kerstboom’ gaat in
West-Europa terug tot ver
voordat er van enige
kerstening sprake was.
Gedurende de koude
strenge winters dacht men
dat kwade geesten de
natuur ‘vermoordde’.
Naaldbomen behielden als
enige hungroene kleur en
werden daardoor symbolen
van onsterflijkheid. Deze
‘levende’ bomen, het
werk van goede machten,
werden in huis gehaald om
kwade geesten en
levensbedreigende
krachten buitenshuis te
houden. Van
‘versierde’
kerstbomenwas het eerst
sprake in de 14e eeuw.
Het was een heidens
gebruik, dat in deze
periode in de Elzas
voorkwam. Tijdens de 15e
en 16e eeuw werd het
versieren van de
kerstboom door de kerk
overgenomen. De
versiering bestond in
eersteinstantie vooral
uit etenswaar, als appels
en koekjes. Later ging
men ook kleine cadeautjes
als versiering gebruiken.
Er wordt beweerd dat
Martin Luther, de
hervormer, als eerste
kaarsen in een kerstboom
deed. De
fonkelendevlammetjes
creëerden een
sterrenhemel waarin men
Christus’ verschijning
leek te herkennen. De
Duitse organist Ernst
Anschütz uit Leipzig,
was de eerste die het
lied ‘O Tannenbaum’
op schrift stelde. De
melodie was een bekend
volkswijsje.Naast
‘Stille Nacht’ is
‘O Tannenbaum’ het
meest bekende kerstlied
dat vanuit Duitsland de
hele wereld veroverde. De
melodie van ‘O
Tannenbaum’ wordt zelfs
in de Verenigde Staten
van Amerika in vier
verschillende staten(o.a.
Maryland) als volkslied
gebruikt. In het
arrangement van David
Well hoort u het lied
eerst op de manier zoals
velen het kennen. Na deze
inleiding klinkt een
stevige rock-versie en is
de maatsoort niet meer de
gebruikelijke.Het
tussendeel is weer in de
vertrouwde
driekwarts-maatsoort.
Hier is echter de ritmiek
in een ander jasje
gestoken. Na de rijkelijk
met slingers versierde
rock-beat klinkt nog
één keer het
oorspronkelijke thema om
daarna feestelijk.
O Christmas Tree Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000905-140 Arranged by David ...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000905-140
Arranged by David Well.
Score Only. 10 pages.
Gobelin Music
Publications #GOB
000905-140. Published by
Gobelin Music
Publications
(BT.GOB-000905-140).
The tradition
of the Christmas tree in
Western Europe dates back
to a time long before any
Christianization had
taken place. During the
severely cold winter
nights, so it was
believed, evil spirits
tried to 'kill' nature.
Needle-leaved trees were
the only ones which kept
their green colour
throughout the year, and
therefore became symbols
of immortality. These
'living' trees, said to
be the work of benign
spirits, were brought
into people's houses to
ward off evil,
life-threatening powers.
In the 14th century
people first started to
decorate Christmas trees.
It was a pagan custom,
originated by the
inhabitants of Alsace.
This custom was taken
over by the Church inthe
course of the 15th and
16th century. At first
the decoration consisted
mainly of edibles, such
as apples and wafers, but
later small presents were
added. Legend has it that
the reformer Martin
Luther was the first
person to decorate a
Christmas tree with
candles. The flickering
candle flames were meant
to create the image of a
starry sky in which
Christ's apparition could
be recognized. The German
organ-player Ernst
Anschütz from Leipzig
was the first person to
notate the song 'O
Tannenbaum', the melody
being a well-known folk
song. Next to 'Stille
Nacht' 'O Tannenbaum' is
the most famous German
Christmas song, now known
throughout the world. In
the United States of
America the melody of 'O
Tannenbaum' has even been
used in four States
(among which the State of
Maryland) for their State
song. In David Well's
arrangement the song is
first heard as many of us
know it. After this
introduction, however, it
is transformed into a
solid rock version, and
the beat has been
changed. In the second
part the familiar
three-four time is back,
but here the rhythm is
different from the
original. After the
richly ornamented rock
beat the basic theme can
be heard once again and
the composition is
concluded in a festive
manner.
De
traditie van de
‘Kerstboom’ gaat in
West-Europa terug tot ver
voordat er van enige
kerstening sprake was.
Gedurende de koude
strenge winters dacht men
dat kwade geesten de
natuur ‘vermoordde’.
Naaldbomen behielden als
enige hungroene kleur en
werden daardoor symbolen
van onsterflijkheid. Deze
‘levende’ bomen, het
werk van goede machten,
werden in huis gehaald om
kwade geesten en
levensbedreigende
krachten buitenshuis te
houden. Van
‘versierde’
kerstbomenwas het eerst
sprake in de 14e eeuw.
Het was een heidens
gebruik, dat in deze
periode in de Elzas
voorkwam. Tijdens de 15e
en 16e eeuw werd het
versieren van de
kerstboom door de kerk
overgenomen. De
versiering bestond in
eersteinstantie vooral
uit etenswaar, als appels
en koekjes. Later ging
men ook kleine cadeautjes
als versiering gebruiken.
Er wordt beweerd dat
Martin Luther, de
hervormer, als eerste
kaarsen in een kerstboom
deed. De fonkelende
vlammetjescreëerden een
sterrenhemel waarin men
Christus’ verschijning
leek te herkennen. De
Duitse organist Ernst
Anschütz uit Leipzig,
was de eerste die het
lied ‘O Tannenbaum’
op schrift stelde. De
melodie was een bekend
volkswijsje.Naast
‘Stille Nacht’ is
‘O Tannenbaum’ het
meest bekende kerstlied
dat vanuit Duitsland de
hele wereld veroverde. De
melodie van ‘O
Tannenbaum’ wordt zelfs
in de Verenigde Staten
van Amerika in vier
verschillende staten
(o.a.Maryland) als
volkslied gebruikt. In
het arrangement van David
Well hoort u het lied
eerst op de manier zoals
velen het kennen. Na deze
inleiding klinkt een
stevige rock-versie en is
de maatsoort niet meer de
gebruikelijke. Het
tussendeelis weer in de
vertrouwde
driekwarts-maatsoort.
Hier is echter de ritmiek
in een ander jasje
gestoken. Na de rijkelijk
met slingers versierde
rock-beat klinkt nog
één keer het
oorspronkelijke thema om
daarna feestelijk af.
Avalon Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, China
Cymbal, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2
SKU: CF.YPS204F
Long Live the
King. Composed by
Tyler Arcari. Young Band
(YPS). Full score. With
Standard notation. 16
pages. Carl Fischer Music
#YPS204F. Published by
Carl Fischer Music
(CF.YPS204F).
ISBN
9781491152928. UPC:
680160910427.
Avalo
n–Long Live the
King is a medieval
fantasy piece depicting
the Isle of Avalon where
the mystical sword
Excalibur of King Arthur
was forged. Composer
Tyler Arcari unearths a
solid piece for young
bands that is both bold
and dramatic. This piece
is sure to spark the
imagination of students
and give them strong
musical content with
which they can develop
their
musicianship. Program
Notes:Avalon–Long
live the King began its
journey as a commission
in honor of a dear friend
and mentor. David Riggs
is one of those band
directors that just seems
timeless. He is a
powerhouse with such a
stacked resume that it is
easy to forget that at
the end of the day he
enjoys taking long bike
rides with his lovely
wife and whittling a
piece of wood just as
much as being a band
director. He has touched
so many lives and
inspired so many people
in our field and beyond.
I was humbled, and
honored, when I was
contacted for the
commission. To David, I
hope that you one day
know how much you mean to
so many people, including
myself.About the
piece:The piece is
written with a little
homage to David’s
long tenure at Avalon
Middle school in Pace,
Florida. He was certainly
treated like a king as
the band director and
rightly so. It seemed
only fitting to add a
little medieval fantasy.
Avalon is a mystical
island in the world of
King Arthur where the
great sword Excalibur was
forged.The piece begins
lyrically with a slow
introduction with melodic
material. This melodic
motive is used throughout
with slight variations
depending on the
instrument voicing etc.
Care should be taken at
m. 10 that the Timpani
roll helps to bridge our
transition from an
exposed section to full
tutti. Care should be
taken so that the tempo
change at m. 19 is brisk
and avoids the low brass
turning into stomping.
Accessories like the
China cymbal and
tambourine can become
overpowering. I recommend
having students think of
these effects as
background in order to
make sure they
don’t POP out. The
dynamic changes at mm.
27-35 should be subito
similar to orchestral
dynamic changes. Avoid
unwritten crescendos in
this section. Measures
60–64 are a great
opportunity to teach
those unwritten dynamics
that make music so
enjoyable as we lead up
to the finale. It was
originally left blank for
some theatrics in the
premiere at
David’s retirement
concert so I know he
would enjoy adding some
Cholesterol as David
would say.Long Live the
King!
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, China
Cymbal, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2
SKU: CF.YPS204
Long Live the
King. Composed by
Tyler Arcari. Young Band
(YPS). Set of Score and
Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+3+1+1+4+16+2+4 pages.
Duration 2 minutes, 24
seconds. Carl Fischer
Music #YPS204. Published
by Carl Fischer Music
(CF.YPS204).
ISBN
9781491152249. UPC:
680160909742. Key: D
minor.
Avalonâ€
Long Live the
King is a medieval
fantasy piece depicting
the Isle of Avalon where
the mystical sword
Excalibur of King Arthur
was forged. Composer
Tyler Arcari unearths a
solid piece for young
bands that is both bold
and dramatic. This piece
is sure to spark the
imagination of students
and give them strong
musical content with
which they can develop
their
musicianship. Program
Notes:Avalon–Long
live the King began its
journey as a commission
in honor of a dear friend
and mentor. David Riggs
is one of those band
directors that just seems
timeless. He is a
powerhouse with such a
stacked resume that it is
easy to forget that at
the end of the day he
enjoys taking long bike
rides with his lovely
wife and whittling a
piece of wood just as
much as being a band
director. He has touched
so many lives and
inspired so many people
in our field and beyond.
I was humbled, and
honored, when I was
contacted for the
commission. To David, I
hope that you one day
know how much you mean to
so many people, including
myself.About the
piece:The piece is
written with a little
homage to David’s
long tenure at Avalon
Middle school in Pace,
Florida. He was certainly
treated like a king as
the band director and
rightly so. It seemed
only fitting to add a
little medieval fantasy.
Avalon is a mystical
island in the world of
King Arthur where the
great sword Excalibur was
forged.The piece begins
lyrically with a slow
introduction with melodic
material. This melodic
motive is used throughout
with slight variations
depending on the
instrument voicing etc.
Care should be taken at
m. 10 that the Timpani
roll helps to bridge our
transition from an
exposed section to full
tutti. Care should be
taken so that the tempo
change at m. 19 is brisk
and avoids the low brass
turning into stomping.
Accessories like the
China cymbal and
tambourine can become
overpowering. I recommend
having students think of
these effects as
background in order to
make sure they
don’t POP out. The
dynamic changes at mm.
27-35 should be subito
similar to orchestral
dynamic changes. Avoid
unwritten crescendos in
this section. Measures
60–64 are a great
opportunity to teach
those unwritten dynamics
that make music so
enjoyable as we lead up
to the finale. It was
originally left blank for
some theatrics in the
premiere at
David’s retirement
concert so I know he
would enjoy adding some
Cholesterol as David
would say.Long Live the
King!
Valerie Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1135412-140 As performed...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1135412-140
As performed by Amy
Winehouse. Composed
by Abigail Harding, Boyan
Chowdhury, David McCabe,
Russell Pritchard, and
Sean Payne. Arranged by
Peter Kleine Schaars.
Peter's Popular
Collection. Pop & Rock.
Score Only. Composed
2012. 16 pages. De Haske
Publications #DHP
1135412-140. Published by
De Haske Publications
(BT.DHP-1135412-140).
9x12 inches.
English-German-French-Dut
ch.
Just a year
after the English rock
band The Zutons had
considerable success with
Valerie in Great
Britain, Mark Ronson and
Amy Winehouse released a
cover version - a version
that was funkier, more
upbeat and, in typical
Winehouse fashion, more
soulful, which shot up
the charts in many
countries. Valerie
is surely one of the hits
that immortalises the
singer who died in 2011
and will find a welcome
place in the repertoire
of every concert
band.
Een jaar na
het grote succes dat de
Engelse rockband The
Zutons in eigen land had
met Valerie,
verscheen de coverversie
van Mark Ronson en Amy
Winehouse. Deze vlotte,
funky versie in
soulstijl, zo typisch
voor Amy Winehouse,
veroverde in snel tempo
de hitlijsten van vele
landen. Het is een
blijvende herinnering aan
de veel te jong overleden
zangeres. Met dit
arrangement van
Valerie
presenteren wij een
onsterfelijke hit die
niet mag ontbreken aan uw
repertoire!
Bereit
s ein Jahr nachdem die
englische Rockband The
Zutons mit Valerie
einen beachtlichen Erfolg
in Großbritannien
hatten, kam die
Coverversion von Mark
Ronson und Amy Winehouse
heraus. Die funkigere,
flottere und - typisch
für Amy Winehouse -
souligere Version des
Songs eroberte rasch die
Charts in vielen
Ländern.
Valerie ist
sicherlich einer der
Hits, die das Andenken an
die 2011 verstorbene
Sängerin unsterblich
machten und gehört
damit in das
unterhaltsame Repertoire
jedes
Blasorchesters.
Appena un anno
dopo aver ottenuto un
buon successo con
Valerie,
nell’interpretazio
ne della rock band
britannica The Zutons,
Mark Ronson la
riadattò con suoni
jazz e con atmosfere
vintage pensando bene di
completare il tutto con
la bellissima voce di Amy
Winehouse. Questa
versione si catapultò
in vetta alle chart di
molti paesi e rimane a
oggi un ricordo
struggente della
straordinaria artista
scomparsa nel 2011.
Valerie Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1135412-010 As performed...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1135412-010
As performed by Amy
Winehouse. Composed
by Abigail Harding, Boyan
Chowdhury, David McCabe,
Russell Pritchard, and
Sean Payne. Arranged by
Peter Kleine Schaars.
Peter's Popular
Collection. Pop & Rock.
Set (Score & Parts).
Composed 2012. De Haske
Publications #DHP
1135412-010. Published by
De Haske Publications
(BT.DHP-1135412-010).
9x12 inches.
English-German-French-Dut
ch.
Just a year
after the English rock
band The Zutons had
considerable success with
Valerie in Great
Britain, Mark Ronson and
Amy Winehouse released a
cover version - a version
that was funkier, more
upbeat and, in typical
Winehouse fashion, more
soulful, which shot up
the charts in many
countries. Valerie
is surely one of the hits
that immortalises the
singer who died in 2011
and will find a welcome
place in the repertoire
of every concert
band.
Een jaar na
het grote succes dat de
Engelse rockband The
Zutons in eigen land had
met Valerie,
verscheen de coverversie
van Mark Ronson en Amy
Winehouse. Deze vlotte,
funky versie in
soulstijl, zo typisch
voor Amy Winehouse,
veroverde in snel tempo
de hitlijsten van vele
landen. Het is een
blijvende herinnering aan
de veel te jong overleden
zangeres. Met dit
arrangement van
Valerie
presenteren wij een
onsterfelijke hit die
niet mag ontbreken aan uw
repertoire!
Bereit
s ein Jahr nachdem die
englische Rockband The
Zutons mit Valerie
einen beachtlichen Erfolg
in Großbritannien
hatten, kam die
Coverversion von Mark
Ronson und Amy Winehouse
heraus. Die funkigere,
flottere und - typisch
für Amy Winehouse -
souligere Version des
Songs eroberte rasch die
Charts in vielen
Ländern.
Valerie ist
sicherlich einer der
Hits, die das Andenken an
die 2011 verstorbene
Sängerin unsterblich
machten und gehört
damit in das
unterhaltsame Repertoire
jedes
Blasorchesters.
Appena un anno
dopo aver ottenuto un
buon successo con
Valerie,
nell’interpretazio
ne della rock band
britannica The Zutons,
Mark Ronson la
riadattò con suoni
jazz e con atmosfere
vintage pensando bene di
completare il tutto con
la bellissima voce di Amy
Winehouse. Questa
versione si catapultò
in vetta alle chart di
molti paesi e rimane a
oggi un ricordo
struggente della
straordinaria artista
scomparsa nel 2011.
SATB choir with trio - Moderate SKU: WD.080689927324 Composed by David Cl...(+)
SATB choir with trio -
Moderate
SKU:
WD.080689927324
Composed by David
Clydesdale. Arranged by
David Clydesdale. Choral.
Sacred Anthem, Christmas.
CD choraltrax. Duration 4
minutes, 28 secnods. Word
Music #080689927324.
Published by Word Music
(WD.080689927324).
UPC:
080689927324.
David
T. Clydesdale brings his
signature powerhouse
arranging gifts to this
soaring new song that
features multiple solos
and choir, as it
describes the discovery
of the empty tomb in
vivid detail.
Concert Band (SCORE+PARTS) - Level 2.5 SKU: HL.4006202 Composed by Jan de...(+)
Concert Band
(SCORE+PARTS) - Level 2.5
SKU: HL.4006202
Composed by Jan de Haan.
De Haske Concert Band.
Concert. Softcover.
Duration 425 seconds. De
Haske Publications
#DHP1196179. Published by
De Haske Publications
(HL.4006202).
UPC:
888680970499. 9.0x12.0
inches.
The title
of this work is based on
the name of the
commissioning band: Music
Society Asaf (Dutch for
Asaph). In the Hebrew
Bible, the poet, singer
and seer Asaph is in
charge of the choir in
the house of King David.
Various psalms, including
Psalm 81, which is used
in this work, are
attributed to him. The
melody of this psalm is
flanked by a march-like
initial part, and the
traditional klezmer
melody “Uri
Tzion†features as
a spectacular finale.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
Male voices with/without accomp. SKU: BR.CHB-5324-00 For Men's Choir(+)
Male voices with/without
accomp.
SKU:
BR.CHB-5324-00
For
Men's Choir. Composed
by Breitkopf & Hartel.
Choir; Softcover.
Chor-Bibliothek (Choral
Library).
Choral music
for all occasions in the
original notational
image, sorted by genres
and themes
Late-romantic; Early
modern. Choral score. 368
pages. Breitkopf and
Haertel #ChB 5324-00.
Published by Breitkopf
and Haertel
(BR.CHB-5324-00).
ISBN
9790004412541. 7.5 x 10.5
inches.
The Choir
Library for Men's Choir
includes distinctly more
secular than sacred
music. In this, the
publishing house's
program reflects the
great tradition of men's
choirs with a
predominantly secular
repertoire. It inspired
many composers to write
music for this setting,
among them Franz
Schubert, Robert Schumann
and Felix Mendelssohn
Bartholdy. But also
lesser-known composers of
the romantic period such
as Johann Evangelist
Habert and Othmar Schoeck
created works for men's
choirs. More modern
composers like Jean
Sibelius, Johann Nepomuk
David and Siegfried
Thiele, also represented
here, continue this
tradition into the 20th
century.We wish you lots
of joy at discovering and
singing!Sacred MusicI.
Sacred Songs and
ChantsII. Masses and
HymnsSecular MusicI.
Dance and Love SongsII.
Songs of NatureIII.
Hunting SongsIV. Drinking
SongsV. Evening and
Night-timeVI. Serious and
Patriotic
Songs
Choral music
for all occasions in the
original notational
image, sorted by genres
and themes. Let yourself
be inspired by more of
our Choir Libraries as
well.