String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Faber Music Limited
(Parts). By Benjamin Britten (1913-1976). Masterworks; Part(s); Quartet; String ...(+)
(Parts). By Benjamin
Britten (1913-1976).
Masterworks; Part(s);
Quartet; String Quartet.
Faber Edition. 20th
Century; Masterwork.
Published by Faber Music
By Benjamin Britten (1913-1976). For Piano (Bass voice; Tenor voice). Book; Mast...(+)
By Benjamin Britten
(1913-1976). For Piano
(Bass voice; Tenor
voice). Book;
Masterworks; Solo; Vocal
Collection. Faber
Edition. 20th Century;
Masterwork. Advanced;
Intermediate. Published
by Faber Music
By Benjamin Britten (1913-1976). Choir Secular. For with Piano (SATB choir). Cho...(+)
By Benjamin Britten
(1913-1976). Choir
Secular. For with Piano
(SATB choir). Choral
Octavo; Masterworks.
Faber Edition. 20th
Century; Masterwork.
Published by Faber Music
Whoso Dwelleth Under the Defence by Benjamin Britten (1913-1976). Choir Sacred. ...(+)
Whoso Dwelleth Under the
Defence by Benjamin
Britten (1913-1976).
Choir Sacred. SATB choir.
Choral (Sacred); Choral
Octavo; Masterworks;
Worship Resources. Faber
Edition. 20th Century;
Masterwork; Sacred.
Published by Faber Music
(Orchestration by Colin Matthews for High Voice and Strings). By Benjamin Britte...(+)
(Orchestration by Colin
Matthews for High Voice
and Strings). By Benjamin
Britten (1913-1976).
Edited by Colin Matthews.
For Strings, High Voice
(Full Score). Boosey and
Hawkes Scores/Books.
Softcover. 32 pages.
Boosey and Hawkes
#M060120305. Published by
Boo
Vocal Score. By Benjamin Britten. Arranged by Arthur Oldham. (Vocal Score). Boo...(+)
Vocal Score. By Benjamin
Britten. Arranged by
Arthur Oldham. (Vocal
Score). Boosey and Hawkes
Large Choral. Book only.
Size 7.25x10.25 inches.
88 pages. Published by
Boosey and Hawkes.
Choral Dances Chorale SATB SATB divisi, A Cappella Boosey and Hawkes
From Gloriana. By Benjamin Britten. (SATB DV A Cappella). Boosey and Hawkes Lar...(+)
From Gloriana. By
Benjamin Britten. (SATB
DV A Cappella). Boosey
and Hawkes Large Choral.
Size 7.25x10.25 inches.
23 pages. Published by
Boosey and Hawkes.
Works for Organ Solo. By Benjamin Britten. Arranged by Timothy Bond, Colin Matth...(+)
Works for Organ Solo. By
Benjamin Britten.
Arranged by Timothy Bond,
Colin Matthews. (Organ).
Size 9x12 inches. 13
pages. Published by
Boosey & Hawkes.
Irish Reel Orchestre d'harmonie [Conducteur et Parties séparées] Faber Music Limited
Composed by Benjamin Britten (1913-1976). 5 or More; Performance Music Ensemble;...(+)
Composed by Benjamin
Britten (1913-1976). 5 or
More; Performance Music
Ensemble; Solo Small
Ensembles; Wind Band.
Faber Edition: Faber Wind
Band Series. 20th
Century; Masterwork.
Part(s); Score. Faber
Music #12-0571564917.
Published by Faber Music
(AP.12-0571564917).
(Arranged for Mezzo-Soprano and Orchestra Vocal Score). By Benjamin Britten (191...(+)
(Arranged for
Mezzo-Soprano and
Orchestra Vocal Score).
By Benjamin Britten
(1913-1976). Arranged by
Colin Matthews. For
Piano/Keyboard,
Mezzo-Soprano (Vocal
Score). Boosey and Hawkes
Voice. Softcover. 20
pages. Boosey and Hawkes
#M060124525. Published by
Boo
Violin, viola, and piano SKU: AP.12-0571523617 For Violin, Viola, and ...(+)
Violin, viola, and piano
SKU:
AP.12-0571523617
For Violin, Viola, and
Piano. Composed by
Benjamin Britten. Mixed
Instruments - Trio; Solo
Small Ensembles; Trio.
Faber Edition. Score and
Part(s). Faber Music
#12-0571523617. Published
by Faber Music
(AP.12-0571523617).
ISBN 9780571523610.
English.
The
previously unpublished
Two Pieces was released
to mark the 2013
centenary of the Benjamin
Britten's birth, who
founded the publisher
Faber Music. These trios
were written in late
1929, after Britten
composed the Rhapsody for
String Quartet (March
1929). This edition was
edited by David Matthews,
who spent three years as
an assistant to Benjamin
Britten at Aldeburgh in
the late 1960s.
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS.
Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano.
20 iconic pieces of British classical music specially arranged for intermediat...(+)
20 iconic pieces of
British
classical music specially
arranged for intermediate
piano solo, plus a
pull-out
print of the striking
cover
artwork. Graded Standard
Repertoire; Piano
Collection.
The Piano Player Series.
Classical; Masterwork
Arrangement; Traditional.
Book. Faber Music #12-
0571541690. Published by
Faber
Music
SKU: AP.12-0571100236 Composed by Benjamin Britten. Masterworks; Referenc...(+)
SKU:
AP.12-0571100236
Composed by Benjamin
Britten. Masterworks;
Reference Textbooks;
Textbook - General. Faber
Edition. 20th Century;
Masterwork. Book. Faber
Music #12-0571100236.
Published by Faber Music
(AP.12-0571100236).
ISBN 9780571100231.
UPC: 571100236000.
English.
This is
the full text of the
speech made by Benjamin
Britten when he was
presented with the first
Aspen Award at Aspen,
Colorado, on 31st July,
1964.
It is a
fascinating document in
which, for the first
time, Britten set down
some of his beliefs and
convictions as an artist.
The speech, which has
been constantly quoted
and referred to in the
years since its first
publication, not only
throws light on his
creative personality and
practice but also
illuminates many of the
issues which are the
concern of all those with
an interest in the arts
of the present day. It
has long been out of
print and this re-issue
of the original edition
will undoubtedly find
many new readers.
Concert Band/Harmonie/Fanfare/Bra ss Band - Grade 2 SKU: HL.44001284 Comp...(+)
Concert
Band/Harmonie/Fanfare/Bra
ss Band - Grade 2
SKU:
HL.44001284
Composed
by Henry Purcell.
Arranged by Jan de Haan.
De Haske Concert Band.
Opening Pieces. Score
Only. Composed 1987. De
Haske Publications
#870078. Published by De
Haske Publications
(HL.44001284).
UPC:
073999012842. 6.75x10.5
inches.
Purcell
composed this brilliant
theme as incidental music
for his work Abdelazar
(1693). Three centuries
later Benjamin Britten
used it in his symphonic
work The Young Person's
Guide to the Orchestra
(with the subtitle
Variation and Fugue on a
theme of Purcell) and it
became famous. This
arrangement by Jan de
Haan remains faithful to
Britten's intentions
featuring the different
tembres of the
instruments. Rondo
entrances the listener
with its varied tone
colours and its solemn
grandeur.
Das
Rondo aus dem Stuck
Abdelazer oder die
Rache des Mohren ist
eines der bekanntesten
Stucke von Purcell -
nicht zuletzt, weil
Benjamin Britten es fur
seinen beruhmten Young
Person's Guide to the
Orchestra verwendete.
Dank Jan de Haans
Bearbeitung fur
Blasorchester konnen nun
auch Blasorchester jeder
Altersgruppe das Rondo zu
feierlichen Anlassen
erklingen lassen.
Rondo Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band/Brass Band - Grade 2 SKU: BT.DHP-0870078-2...(+)
Concert
Band/Harmonie/Fanfare
Band/Brass Band - Grade 2
SKU:
BT.DHP-0870078-216
Composed by Henry
Purcell. Arranged by Jan
de Haan. Your Favorite
Classics. Opening Pieces.
Score Only. Composed
1987. De Haske
Publications #DHP
0870078-216. Published by
De Haske Publications
(BT.DHP-0870078-216).
Purcell
composed this brilliant
theme as incidental music
for his work Abdelazar
(1693). Three centuries
later Benjamin Britten
used it in his symphonic
work The Young
Person’s Guide to
the Orchestra (with the
subtitle Variation and
Fugue on a theme of
Purcell) and it became
famous. This arrangement
by Jan de Haan remains
faithful to
Britten’s
intentions featuring the
different tembres of the
instruments. Rondo
entrances the listener
with its varied tone
colours and its solemn
grandeur.
Das
Rondo aus dem Stück
Abdelazer oder die
Rache des Mohren ist
eines der bekanntesten
Stücke von Purcell -
nicht zuletzt, weil
Benjamin Britten es
für seinen
berühmten Young
Person’s Guide to
the Orchestra
verwendete. Dank Jan de
Haans Bearbeitung für
Blasorchester können
nun auch Blasorchester
jeder Altersgruppe das
Rondo zu feierlichen
Anlässen erklingen
lassen.
Choral (SATB Choir) SKU: HL.48021234 From Cantata academica, Carmen ba...(+)
Choral (SATB Choir)
SKU: HL.48021234
From Cantata
academica, Carmen
basiliense. Composed
by Benjamin Britten.
Boosey & Hawkes Sacred
Choral. Classical.
Octavo. 16 pages. Boosey
& Hawkes #M051482474.
Published by Boosey &
Hawkes (HL.48021234).
ISBN 9781458423542.
UPC: 884088642037.
6.75x10.5
inches.
Text: in
Latin compiled from the
charter of the
University, and from
older orations in praise
of Basle by Bernhard
Wyss.
Publisher:
Boosey &
Hawkes
Difficulty
level: 4 (for
chorus)
Britten's
genius lifts this work
above being just a worthy
celebration of the 500th
anniversary of the
foundation of Basle
University. It is
tongue-in-cheek and
mockingly non-academic
while referring all the
time to academic musical
forms and formulae. It is
written in two parts
(everything is in the
statutory Latin including
the titles of the parts -
Pars I and Pars II). The
titles of the movements
show Britten's intention
to show off a wide
variety of techniques.
Here are some examples:
Chorale/Alla Rovescio
(the theme is given and
responded to with the
same melody upside
down)/Recitativo/Tema
seriale con fuga/Canone
ed ostinato. There is a
good deal of humour
here.
There are
seven movements in Pars I
and six in Pars II. The
tenor soloist is given
three florid recitatives,
accompanied only by a
piano, which act as
bridges between other
orchestrally accompanied
movements. Of these the
most noteworthy are the
Arioso con canto popolare
for soprano solo with
tenors and basses who hum
a student song; another
terrific Britten scherzo;
and a wonderfully raucous
final pair of movements
(Canon ed ostinato and
Corale con canto) where
Britten seems to be aping
the Vivat Regina! cries
in Parry's I was glad or
encouraging the kind of
noisy 'I'm from the best
university' kind of
student touchline shout.
This has outrageously
high notes for the tenors
(top B) which further
endorse this feeling.
There are real echoes of
the Spring Symphony (see
separate entry) final
movement here which are
further underlined by the
last section of the
Cantata which brings in
the bells, piano, huge
percussion and the
inevitable chorale in
which the choir sings
'that a free academy may
thrive in a free
community, for ever the
ornament and treasure of
illustrious
Basle'.
This may
not be Britten at his
most soul-searching but,
as always, there is
plenty here to enjoy,
especially if the work is
not taken too seriously.
It is a celebratory,
occasional piece and it
could be well taken up by
other academic
establishments
celebrating big
anniversaries. The chorus
parts are not very
difficult, though they do
present challenges for
the choir - not least in
having tenors capable of
those very high notes at
the end. The Tema seriale
con fuga is sinewy and
needs careful tuning. It
also has the subject
regularly given upside
down after its initial
sounding by the basses.
All good
fun.
12 Selected Songs Voix haute, Piano [Partition + Accès audio] Boosey and Hawkes
Realizations by Benjamin Britten High Voice. Composed by Henry Purcell (1659-169...(+)
Realizations by Benjamin
Britten High Voice.
Composed by Henry Purcell
(1659-1695). Edited by
Benjamin Britten. Boosey
and Hawkes Voice.
Classical, English.
Softcover Audio Online.
48 pages. Boosey and
Hawkes #M051934164.
Published by Boosey and
Hawkes
God Save the Queen. By Benjamin Britten. Arranged by Benjamin Britten. (SATB di...(+)
God Save the Queen. By
Benjamin Britten.
Arranged by Benjamin
Britten. (SATB divisi).
Boosey and Hawkes Sacred
Choral. 4 pages.
Published by Boosey and
Hawkes.
12 Selected Songs Voix moyenne, Piano [Partition + Accès audio] Boosey and Hawkes
Realizations by Benjamin Britten Medium/Low Voice. Composed by Henry Purcell (16...(+)
Realizations by Benjamin
Britten Medium/Low Voice.
Composed by Henry Purcell
(1659-1695). Edited by
Benjamin Britten. Boosey
and Hawkes Voice.
Classical, English.
Softcover Audio Online.
48 pages. Boosey and
Hawkes #M051934171.
Published by Boosey and
Hawkes
Viola and Piano - Grade 4 SKU: HL.14042969 Composed by Benjamin Britten. ...(+)
Viola and Piano - Grade 4
SKU: HL.14042969
Composed by Benjamin
Britten. Arranged by
Martin Outram. Music
Sales America. Classical.
Softcover. Chester Music
#CH81939. Published by
Chester Music
(HL.14042969).
ISBN
9781783053919.
Port
rait No.2 'E.B.B' is
taken from Two Portraits
for Strings composed by
Benjamin Britten . This
fantastic, flowing Viola
solo over, soft, staccato
Piano chords really
expresses a range of
gripping emotions. Here
it is present in a
version arranged for
Viola and Piano by
Martin Outram,
violist of the
Maggini Quartet.