Composed
by Philip Sparke. Anglo
Music Concert Band. Score
Only. Composed 2014.
Anglo Music Press
#AMP372-140. Published by
Anglo Music Press
(HL.44012269).
Golden
Winds was
commissioned by
Jugendblasorchester
Schramberg, Germany, to
celebrate their 50th
anniversary in 2012. They
gave the premiere,
conducted by Andreas
Hirt, at their Christmas
concert that year.The
work opens with a
nervously energetic theme
in the lower woodwinds,
which is developed in
canon and builds to
climax for the whole
band. The mood subsides
to introduce a meditative
section featuring first
the clarinets and then a
rich, chorale-like theme
which grows into a
passionate tutti. This
then leads to the main
body of the piece, a
rhythmic vivo, which
introduces its main theme
quietly before it is
taken up by the full
band. A brief bridge
passage thenintroduces a
muscular second subject
which develops until the
bridge passage reappears
to lead to a repeat of
the main theme. This is
transformed to herald a
return of the opening
bars of the piece, which
now bring the work to a
celebratory close.
Golden
Winds werd geschreven
in opdracht van het
Jugendblasorchester
Schramberg uit Duitsland,
dat in 2012 zijn
vijftigjarig bestaan
vierde. Het orkest bracht
het werk in premiere
tijdens het kerstconcert
van het jubileumjaar,
onder leiding van
dirigent Andreas Hirt.De
compositie begint met een
koortsachtig, energiek
thema in het lage hout.
Dit ontvouwt zich
vervolgens tot een canon,
die uitmondt in een door
het complete orkest
uitgevoerd hoogtepunt. De
muziek wordt rustiger van
sfeer en er ontwikkelt
zich een meditatieve
passage, aanvankelijk
gespeeld door de
klarinetten, waarna een
rijk, koraalachtig thema
uitgroeit tot een
gepassioneerd tutti. Het
centralegedeelte van het
werk, een ritmisch vivo,
introduceert het
hoofdthema, eerst
zachtjes en dan
weerklinkend in het hele
orkest. Een kort fragment
leidt een krachtig tweede
motief in, waarop wordt
voortgebouwd totdat de
bridgepassage opnieuw
opduikt en ons meevoert
naar een herhaling van
het hoofdthema. Dat
ondergaat een
transformatie en kondigt
dan de terugkeer van de
openingsmaten aan,
waarmee het werk op
feestelijke wijze wordt
afgesloten.
Golden
Winds wurde zum
50-jahrigen Jubilaum des
Jugendblasorchesters
Schramberg in Auftrag
gegeben. Die Premiere
fand beim
Weihnachtskonzert
selbigen Jahres unter der
Leitung von Andreas Hirt
statt.Das Werk setzt mit
einem Thema voll
gespannter Energie in den
tiefen Holzblasern ein,
das kanonisch
weiterentwickelt wird und
sich zu einem Hohepunkt
fur das gesamte Orchester
aufbaut. Diese Stimmung
klingt ab zugunsten eines
meditativen Abschnitts,
der zunachst die
Klarinetten in den
Vordergrund ruckt und
dann ein volltonendes,
choralartiges Thema, das
zu einem
leidenschaftlichen Tutti
anschwillt. Dieses fuhrt
zum Hauptteil des
Stuckes, einem
rhythmischen Vivo, das
seinHauptthema leise
vorstellt, bevor es vom
gesamten Orchester
aufgenommen wird. Eine
kurze Uberleitung
prasentiert ein
kraftvolles zweites
Thema, das
weiterentwickelt wird bis
die Uberleitung
zuruckkehrt und die
Wiederholung des
Hauptthemas bewirkt.
Dieses verwandelt sich in
eine Ankundigung der
Eroffnungstakte, die das
Werk nun zu einem
festlichen Schluss
fuhren.
Golden
Winds est une
commande de l'Harmonie
des Jeunes de Schramberg,
en Allemagne, pour
marquer son
cinquantenaire en 2012.
L'orchestre a cree cette
piece sous la direction
d'Andreas Hirt lors de
son concert de Noel la
meme annee.La piece
s'ouvre sur un theme
nerveux et energique joue
dans le registre grave
des bois qui se developpe
en canon et s'amplifie
pour arriver a un climax
avec l'orchestre entier.
L'ambiance s'apaise pour
introduire un passage
contemplatif qui met en
avant d'abord les
clarinettes, puis un
theme opulent en forme de
choral qui se transforme
en un tutti ardent.
Celui-ci mene au corps de
la piece, un vivo rythme
qui introduit doucement
son themeprincipal avant
une reprise par
l'orchestre entier. Un
court passage de
transition introduit
alors un second sujet
muscle qui se developpe
jusqu'a la reapparition
du passage de transition
pour mener a une reprise
du theme principal. Ce
theme se transforme pour
annoncer le retour des
premieres mesures de la
piece, qui menent a une
conclusion festive.
(Piano/Vocal). By Jule Styne, lyrics by Bob Merrill. For Keyboard; Piano; Voice....(+)
(Piano/Vocal). By Jule
Styne, lyrics by Bob
Merrill. For Keyboard;
Piano; Voice. This
edition: Piano/Vocal
Score. Book;
Piano/Vocal/Chords; Shows
and Movies. Broadway. 184
pages. Published by
Alfred Music Publishing
Orchestral Score. Composed by Alan Menken. This edition: Paperback/Softcover...(+)
Orchestral Score.
Composed by
Alan Menken. This
edition:
Paperback/Softcover.
Sheet
music. Study score.
Composed
2010. Omni Music
Publishing
#OMNI 50796. Published by
Omni
Music Publishing
Piano - Easy to Intermediate Levels SKU: YM.GTP01101644 Studio Ghibli ...(+)
Piano - Easy to
Intermediate Levels
SKU:
YM.GTP01101644
Studio Ghibli Piano
Collection -
Easy-Intermediate
Level. Composed by
Joe Hisaishi. Arranged by
Kazuhiro Morita. Studio
Ghibli. Anime Song;
J-Pop. Book. Yamaha Music
Media #GTP01101644.
Published by Yamaha Music
Media (YM.GTP01101644).
ISBN 9784636113259.
8.75 x 12
inches.
Spirited
Away from Studio Ghibli
Piano Collection features
11 arrangements of 6
songs from Spirited Away.
Featuring iconic songs
from Studio Ghibli films,
this series includes
arrangements at various
levels, from beginner to
intermediate, in piano
solo and piano duet
arrangements to suit all
difficulty levels and
styles. The first four
pages of each book
feature full color stills
from the film scenes. It
is ideal for piano
learners, piano
enthusiasts, and, of
course, Studio Ghibli
fans!
By Allen Pote. For unison/2-part children's or youth choir. Musicals, Collection...(+)
By Allen Pote. For
unison/2-part children's
or youth choir. Musicals,
Collection. Children,
Scripture-Based, General,
Sacred. Listening CD.
Published by Hope
Publishing Company
By Various Artists. Composed by Andrew Lloyd Webber. Lyricist: Charles Hart, Ric...(+)
By Various Artists.
Composed by Andrew Lloyd
Webber. Lyricist: Charles
Hart, Richard Stilgoe. 2
discs. Broadway. Karaoke
CD. Published by Stage
Stars Records.
Fanfare Band - Grade 5 SKU: BT.DHP-0970939-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 5
SKU:
BT.DHP-0970939-020
Composed by Jan Van der
Roost. Sovereign Series.
Concert Piece. Set (Score
& Parts). Composed 1997.
De Haske Publications
#DHP 0970939-020.
Published by De Haske
Publications
(BT.DHP-0970939-020).
As the title
suggests, this is a fiery
and energetic, dynamic
overture. Jan Van der
Roost was commissioned to
write the piece by the
Japanese ‘Band of
the NEC-Tamagawa
Plant’ on the
occasion of its 40th
anniversary. From the
first measure, the brass
section sets the scene
with rhythmical motives.
Gradually we hear melodic
and playful themes, often
supported by
(poly)rhythmic figures. A
fermate in the trombone
section prepares the way
for the final theme,
which virtuosically leads
into a reprise of the
first fanfare. The
dynamic circle
closes!
Wie der
Titel schon sagt ist
diese kraftvolle und
energische Ouvertüre
sehr dynamisch. Jan Van
der Roost schrieb diese
Komposition im Auftrag
der Band of the
NEC-Tamagava Plant aus
Anlass des 40.
jährigen Jubiläums.
Das
Blechbläserregister
gibt vom ersten Takt an
den Ton mit rhythmischen
Motiven an. Allmählich
hören wir melodische
und spielerische Themen,
die oft durch
(poly)rhythmische
Begleitungsfiguren
unterstützt werden.
Eine Femate bei den
Posaunen leitet das Thema
ein, das virtuos in die
Reprise übergeht: der
dynamische Kreis ist
rund!
Composed by Adam Guettel, written by Tina Landau. Vocal score for mixed voice an...(+)
Composed by Adam Guettel,
written by Tina Landau.
Vocal score for mixed
voice and piano. With
vocal score and piano
accompaniment. 280 pages.
Published by Williamson
Music.
Band Concert Band - Grade 2 SKU: CF.YPS250 Concert March. Composed...(+)
Band Concert Band - Grade
2
SKU: CF.YPS250
Concert March.
Composed by Joseph
Compello. Yps. Set of
Score and Parts.
2+16+4+8+8+8+4+4+10+4+4+8
+8+8+4+4+6+6+6+4+6+1+1+4+
1+24 pages. Duration 2
minutes, 43 seconds. Carl
Fischer Music #YPS250.
Published by Carl Fischer
Music (CF.YPS250).
ISBN 9781491161333.
UPC:
680160919925.
Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march. Performance Notes
The form of the march is
a standard A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march.Performance
NotesThe form of the
march is a standard
A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109.