Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Gustave
Sandre. Softcover.
Orchester-Bibliothek
(Orchestral Library). In
1785, Mozart repeatedly
visited the Viennese
Freemasons' Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
,,Meistermusik. Classical
period. Part. 2 pages.
Breitkopf and Haertel #OB
5148-26. Published by
Breitkopf and Haertel
(BR.OB-5148-26).
ISBN
9790004329702. 9 x 12
inches.
In 1785,
Mozart repeatedly visited
the Viennese Freemasons
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the Meistermusik
(Master Music) for mens
chorus and orchestra. The
score does not contain
the choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Gustave
Sandre. Folder.
Orchester-Bibliothek
(Orchestral Library). In
1785, Mozart repeatedly
visited the Viennese
Freemasons' Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
,,Meistermusik. Classical
period. Set of parts. 18
pages. Breitkopf and
Haertel #OB 5148-30.
Published by Breitkopf
and Haertel
(BR.OB-5148-30).
ISBN
9790004329719. 9 x 12
inches.
In 1785,
Mozart repeatedly visited
the Viennese Freemasons
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the Meistermusik
(Master Music) for mens
chorus and orchestra. The
score does not contain
the choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Gustave
Sandre. Softcover.
Orchester-Bibliothek
(Orchestral Library). In
1785, Mozart repeatedly
visited the Viennese
Freemasons' Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
,,Meistermusik. Classical
period. Part. 2 pages.
Breitkopf and Haertel #OB
5148-15. Published by
Breitkopf and Haertel
(BR.OB-5148-15).
ISBN
9790004329672. 9 x 12
inches.
In 1785,
Mozart repeatedly visited
the Viennese Freemasons
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the Meistermusik
(Master Music) for mens
chorus and orchestra. The
score does not contain
the choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Gustave
Sandre. Softcover.
Orchester-Bibliothek
(Orchestral Library). In
1785, Mozart repeatedly
visited the Viennese
Freemasons' Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
,,Meistermusik. Classical
period. Part. 2 pages.
Breitkopf and Haertel #OB
5148-19. Published by
Breitkopf and Haertel
(BR.OB-5148-19).
ISBN
9790004329696. 9 x 12
inches.
In 1785,
Mozart repeatedly visited
the Viennese Freemasons
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the Meistermusik
(Master Music) for mens
chorus and orchestra. The
score does not contain
the choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Philippe A.
Autexier. Choir; stapled.
Partitur-Bibliothek
(Score Library). In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
,,Meistermusik. Classical
period. Full score. 20
pages. Breitkopf and
Haertel #PB 5148.
Published by Breitkopf
and Haertel (BR.PB-5148).
ISBN 9790004208908. 9
x 12 inches.
In
1785, Mozart repeatedly
visited the Viennese
Freemasons Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
Meistermusik (Master
Music) for mens chorus
and orchestra. The score
does not contain the
choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Gustave
Sandre. Softcover.
Orchester-Bibliothek
(Orchestral Library). In
1785, Mozart repeatedly
visited the Viennese
Freemasons' Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
,,Meistermusik. Classical
period. Part. 2 pages.
Breitkopf and Haertel #OB
5148-16. Published by
Breitkopf and Haertel
(BR.OB-5148-16).
ISBN
9790004329689. 9 x 12
inches.
In 1785,
Mozart repeatedly visited
the Viennese Freemasons
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the Meistermusik
(Master Music) for mens
chorus and orchestra. The
score does not contain
the choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Cantata
for Trinity Sunday.
Composed by Johann
Sebastian Bach. Edited by
Tobias Rimek. Arranged by
Angelika Tasler. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Oboe 3.
Sacred vocal music,
Cantatas, Trinity. Single
Part, Oboe 3. Composed
1724. BWV 194. 4 pages.
Duration 39 minutes.
Carus Verlag #CV
31.194/23. Published by
Carus Verlag
(CA.3119423).
Text
language:
German/English.
The
cantata Hochsterwunschtes
Freudenfest BWV 194 was
composed for an organ
dedication on 2 November
1723 in Stormthal,
Saxony. A year later, and
with just a few
alterations, the cantata
was performed again in
Leipzig on Trinity
Sunday. Our edition takes
this Leipzig version of
1724 as its source. The
special occasion of its
composition is reflected
in the extent of the
composition which has
twelve, instead of the
usual six, movements. The
orchestral scoring is for
strings and three
obbligato oboes. A
special feature of the
cantata is its structure
as an orchestral suite.
The beginning is a
spirited opening chorus
in the style of a French
overture. The bass aria
in the third movement has
the character of a
pastorale, and the
following aria (movement
5) in turn has the
character of a gavotte,
etc. A simple four-part
chorale concludes this
multifaceted composition,
marked by some extremely
heartfelt moments. Score
and part available
separately - see item
CA.3119400.
Cantata
for Trinity Sunday.
Composed by Johann
Sebastian Bach. Edited by
Tobias Rimek. Arranged by
Angelika Tasler. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Oboe 2.
Sacred vocal music,
Cantatas, Trinity. Single
Part, Oboe 2. Composed
1724. BWV 194. 8 pages.
Duration 39 minutes.
Carus Verlag #CV
31.194/22. Published by
Carus Verlag
(CA.3119422).
Text
language:
German/English.
The
cantata Hochsterwunschtes
Freudenfest BWV 194 was
composed for an organ
dedication on 2 November
1723 in Stormthal,
Saxony. A year later, and
with just a few
alterations, the cantata
was performed again in
Leipzig on Trinity
Sunday. Our edition takes
this Leipzig version of
1724 as its source. The
special occasion of its
composition is reflected
in the extent of the
composition which has
twelve, instead of the
usual six, movements. The
orchestral scoring is for
strings and three
obbligato oboes. A
special feature of the
cantata is its structure
as an orchestral suite.
The beginning is a
spirited opening chorus
in the style of a French
overture. The bass aria
in the third movement has
the character of a
pastorale, and the
following aria (movement
5) in turn has the
character of a gavotte,
etc. A simple four-part
chorale concludes this
multifaceted composition,
marked by some extremely
heartfelt moments. Score
and part available
separately - see item
CA.3119400.
Cantata
for Trinity Sunday.
Composed by Johann
Sebastian Bach. Edited by
Tobias Rimek. Arranged by
Angelika Tasler. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Oboe 1.
Sacred vocal music,
Cantatas, Trinity. Single
Part, Oboe 1. Composed
1724. BWV 194. 12 pages.
Duration 39 minutes.
Carus Verlag #CV
31.194/21. Published by
Carus Verlag
(CA.3119421).
Text
language:
German/English.
The
cantata Hochsterwunschtes
Freudenfest BWV 194 was
composed for an organ
dedication on 2 November
1723 in Stormthal,
Saxony. A year later, and
with just a few
alterations, the cantata
was performed again in
Leipzig on Trinity
Sunday. Our edition takes
this Leipzig version of
1724 as its source. The
special occasion of its
composition is reflected
in the extent of the
composition which has
twelve, instead of the
usual six, movements. The
orchestral scoring is for
strings and three
obbligato oboes. A
special feature of the
cantata is its structure
as an orchestral suite.
The beginning is a
spirited opening chorus
in the style of a French
overture. The bass aria
in the third movement has
the character of a
pastorale, and the
following aria (movement
5) in turn has the
character of a gavotte,
etc. A simple four-part
chorale concludes this
multifaceted composition,
marked by some extremely
heartfelt moments. Score
and part available
separately - see item
CA.3119400.
Soli STB, SATB Choir, 3 Ob, Fg, 2 Vl, Va, Bc SKU: CA.3119409 Cantata f...(+)
Soli STB, SATB Choir, 3
Ob, Fg, 2 Vl, Va, Bc
SKU: CA.3119409
Cantata for Trinity
Sunday. Composed by
Johann Sebastian Bach.
Edited by Tobias Rimek.
Arranged by Angelika
Tasler. 1x 31.194/21 oboe
1, 1x 31.194/22 oboe 2,
1x 31.194/23 oboe 3.
Stuttgart Urtext Edition:
Bach vocal. Harmony
parts. Sacred vocal
music, Cantatas, Trinity.
Set of Orchestra Parts.
Composed 1724. BWV 194.
Duration 39 minutes.
Carus Verlag #CV
31.194/09. Published by
Carus Verlag
(CA.3119409).
ISBN
9790007210304. Language:
German/English.
The
cantata Hochsterwunschtes
Freudenfest BWV 194 was
composed for an organ
dedication on 2 November
1723 in Stormthal,
Saxony. A year later, and
with just a few
alterations, the cantata
was performed again in
Leipzig on Trinity
Sunday. Our edition takes
this Leipzig version of
1724 as its source. The
special occasion of its
composition is reflected
in the extent of the
composition which has
twelve, instead of the
usual six, movements. The
orchestral scoring is for
strings and three
obbligato oboes. A
special feature of the
cantata is its structure
as an orchestral suite.
The beginning is a
spirited opening chorus
in the style of a French
overture. The bass aria
in the third movement has
the character of a
pastorale, and the
following aria (movement
5) in turn has the
character of a gavotte,
etc. A simple four-part
chorale concludes this
multifaceted composition,
marked by some extremely
heartfelt moments. Score
and parts available
separately - see item
CA.3119400.
Fantasia Nova Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
Concert band - Grade 5 SKU: MH.1-59913-082-3 Composed by Bob Margolis. Su...(+)
Concert band - Grade 5
SKU:
MH.1-59913-082-3
Composed by Bob Margolis.
Suitable for community
bands, high school bands,
and college bands. 14
minutes duration if
played as a suite; or
movements 1 or 3 may be
performed separately.
Conductor score and set
of parts. Duration 14:00.
Published by Manhattan
Beach Music
(MH.1-59913-082-3).
ISBN
9781599130828.
Fant
asia Nova is a suite
comprising two concert
marches and a slow,
middle movement that
derives its themes from
both marches. Ragtime
(composed in early
September, 1978) is a new
from old sort of piece.
Although its tunefulness
and harmonies have an
old-fashioned character,
its structure,
development, and
orchestration are unusual
for a march. In the
chorale section (measures
111 - 148) the band
director must be very
careful in balancing, for
each of the elements must
come through. More
important is that the
audience be brought up by
this section -- filled
with a joyous exaltation;
great attention must be
paid to sonority and the
band must play earnestly.
Ragtime stands on its own
and may be performed
separately. Dreams
(composed in late
September, 1978) is the
traditional march of the
two. It is very closely
modeled (in structure
only) to Sousa's Stars
and Stripes Forever. It
even includes a tricky
piccolo solo, although
the accompaniment has a
chorale texture, almost
like a school alma mater.
This march has a
patriotic, inspirational
sound, because it was
composed for the town of
Irondequoit, New York --
for a Town March contest
held by the town's
community concert band.
It did not, so far as I
know, become the town's
march; one can hear the
name, Irondequoit,
throughout the Trio, for
every turn of the melody
(in fact, each group of
four notes) fits the
accent pattern
(Ih-RON-dih-kwoit) of the
town's name. Parade
stands on its own as a
complete work and may be
performed separately.
Ensemble instrumentation:
1 Piccolo, 6 Flutes, 2
1st & 2nd Oboes, 1
English Horn, 1 Eb
Clarinet, 3 1st Bb
Clarinet, 3 2nd Bb
Clarinet, 3 3rd Bb
Clarinet, 1 Eb Alto
Clarinet, 2 Bb Bass
Clarinet, 1 Eb Contrabass
Clarinet (optional), 2
1st & 2nd Bassoons, 1
Contrabassoon (optional),
1 1st Eb Alto Saxophone,
1 2nd Eb Alto Saxophone,
1 Bb Tenor Saxophone, 1
Eb Baritone Saxophone, 3
1st Bb Cornets, 3 2nd Bb
Cornets, 3 3rd Bb
Cornets, 1 1st Horn in F,
1 2nd Horn in F, 2 3rd
and 4th Horns in F, 2 1st
Trombones, 2 2nd
Trombones, 2 3rd
Trombones, 1 Euphonium
(Treble Clef), 2
Euphonium (Bass Clef), 4
Tuba, 1 String Bass, 1
Timpani (Triangle), 5
Percussion.
SATB vocal soli, SATB choir, 2 recorders f1, oboe I/oboe d'caccia i, oboe II, ob...(+)
SATB vocal soli, SATB
choir, 2 recorders f1,
oboe I/oboe d'caccia i,
oboe II, oboe IIi/oboe
d'caccia II, 4 trumpets,
timpani, 2 violins,
viola, basso continuo
SKU: CA.3111909
Cantata for the
inauguration of town
councils in Leipzig.
Composed by Johann
Sebastian Bach. Edited by
Uwe Wolf. This edition:
urtext. 2x 31.119/21 2
flutes, 1x 31.119/22 oboe
1, 1x 31.119/23 oboe 2,
1x 31.119/24 oboe 3, 5x
31.119/31
trumpet/timpani.
Stuttgart Urtext Edition:
Bach vocal. Preise,
Jerusalem Neuausgabe
U.Wolf. Sacred vocal
music, Cantatas, Psalms,
German, Praise and
thanks. Set of Orchestra
Parts. Composed 1723. BWV
119. 36 pages. Duration
27 minutes. Carus Verlag
#CV 31.119/09. Published
by Carus Verlag
(CA.3111909).
ISBN
9790007048747. Key: C
major. Language:
German/English. Text:
Goes, Albrecht. Text:
Albrecht
Goes.
Bach's first
cantata for the election
of the Leipzig town
council, composed in
August 1723, is one of
his most splendidly
scored work from his
Leipzig period. The
choice of opening, with
the representative form
of a French overture, was
suited to a festive
orchestral scoring. Two
choral movements frame a
middle section which
consists of two arias and
a recitativo accompagnato
with a trumpet
ritornello. The
conclusion of this
extended festive music
takes a reflective turn
in movements 8 and 9,
when Bach allows a
recitative to be followed
by simple, prayer-like
chorale movement. Score
and parts available
separately - see item
CA.3111900.
Composed
by Dan Welcher. Spiral.
Large Score. With
Standard notation.
Duration 10 minutes.
Theodore Presser Company
#466-00047. Published by
Theodore Presser Company
(PR.466000470).
UPC:
680160099405. 11 x 17
inches.
This is the
second incarnation of a
work I first composed in
1994 for symphonic wind
ensemble. The earlier
version was intended to
be the summation of
three-part suite, each
part being named for a
different national park
in the Western United
States. This orchestral
version, commissioned in
1999 by the Utah Symphony
and dedicated to the
memory of Aaron Copland,
is more than a re-scoring
of the earlier piece; it
is a re-thinking of all
its elements. Zion is a
place with unrivaled
natural grandeur, being a
sort of huge box canyon
in which the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both his
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of
triumph.
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
Concert band (ST KPL) - intermediate SKU: HL.49012046 From the Oratori...(+)
Concert band (ST KPL) -
intermediate
SKU:
HL.49012046
From
the Oratorio Saul.
Composed by George
Frideric Handel. Arranged
by Norbert Studnitzky.
This edition: Folding.
Sheet music. Schott
Harmonie Serie (Concert
Band). Classical. Set of
Parts. Duration 13'.
Schott Music #SHS
1006-70. Published by
Schott Music
(HL.49012046).
ISBN
9790001100793.
8.25x11.75x0.692
inches.
Handel's
Oralorio Saul, composed
in 1739, contains a
series of instrumental
movements which provide
commentary on the action.
Composers have often
written works in the form
of suites from these
movements. Handel's
blocks of polyphonic
music are also
particularly suitable for
wind band. His orchestral
suites were usually
performed in Ihe open
air. Many of his themes
rank among the great
inventions of musical
history. They give his
music dignity and
greatness and at the same
time they remain popular
in character. The
instrumental movements
from 'Saul' are suitable
for concerts, including
those in churches, for
serenades and for
contests from
intermediate to advanced
level.
(2 Floten,
1 Oboe ad lib., 1 Fagott
ad lib., 1 Klarinette in
Es ad lib., 3 Klarinetten
in B, 2 Alt-Saxophone in
Es, 1 Tenor-Saxophon in
B, 3 Horner in F, 3
Trompeten in B, 3
Posaunen, 2 Flugelhorner
(Kornette) in B, 1
Tenorhorn in B, 1
Bariton, 2 Tuben, Pauken,
Schlagzeug: Glockenspiel,
kleine Trommel, grosse
Trommel, Becken).
Condensed Score.
Composed by George
Frideric Handel. Arranged
by Norbert Studnitzky.
This edition: Saddle
stitching. Sheet music.
Schott Harmonie Serie
(Concert Band).
Classical. Condensed
Score. 40 pages. Duration
13'. Schott Music
#SHS1006-10. Published by
Schott Music
(HL.49012045).
ISBN
9790001113205. UPC:
073999296280.
8.25x11.75x0.202
inches.
Handel's
Oralorio Saul, composed
in 1739, contains a
series of instrumental
movements which provide
commentary on the action.
Composers have often
written works in the form
of suites from these
movements. Handel's
blocks of polyphonic
music are also
particularly suitable for
wind band. His orchestral
suites were usually
performed in Ihe open
air. Many of his themes
rank among the great
inventions of musical
history. They give his
music dignity and
greatness and at the same
time they remain popular
in character. The
instrumental movements
from 'Saul' are suitable
for concerts, including
those in churches, for
serenades and for
contests from
intermediate to advanced
level.
(2 Floten,
1 Oboe ad lib., 1 Fagott
ad lib., 1 Klarinette in
Es ad lib., 3 Klarinetten
in B, 2 Alt-Saxophone in
Es, 1 Tenor-Saxophon in
B, 3 Horner in F, 3
Trompeten in B, 3
Posaunen, 2 Flugelhorner
(Kornette) in B, 1
Tenorhorn in B, 1
Bariton, 2 Tuben, Pauken,
Schlagzeug: Glockenspiel,
kleine Trommel, grosse
Trommel, Becken).
Flexible Ensemble - late intermediate SKU: BT.EMBZ14861 Kammermusikser...(+)
Flexible Ensemble - late
intermediate
SKU:
BT.EMBZ14861
Kammermusikserie mit
variabler Besetzung.
EMB Ad Libitum.
Educational Tool. Set
(Score & Parts). Composed
2013. 60 pages. Editio
Musica Budapest
#EMBZ14861. Published by
Editio Musica Budapest
(BT.EMBZ14861).
Die
Bände der neuen Serie
beinhalten leichte,
mittelschwere oder
fortgeschrittene Duos,
Trios und Quartette.
Bei der
Zusammenstellung lag das
Hauptaugenmerk auf der
höchstmöglichen
Freiheit in der
Kombinierbarkeit der
Instrumente sowie darauf,
dass die Kompositionen
für Musikschuler und
Hobbymusiker musikalisch
interessant und wertvoll
sind. Aus diesemGrund
handelt es sich bei allen
Stücken um
Transkriptionen. Lage und
Tonumfang der Stimmen
sind so gesetzt, dass
sich die Werke allen
denkbaren Umständen
und Anspruchen anpassen
und entsprechend in jeder
Kombination der
angegebenen
Musikinstrumentevorgetrag
en werden
können.
I volumi della
serie Ad Libitum
propongono trascrizioni o
arangiamenti di opere per
trio e quartetto di
livello facile,
intermedio e avanzato.
L´estensione e il
registro delle parti
permettono a questi brani
di adattarsi a tutte le
esigenze edi essere
eseguiti da ogni
combinazione di
strumenti.
SATB vocal soli, SATB choir, 2 recorders f1, oboe I/oboe d'caccia i, oboe II, ob...(+)
SATB vocal soli, SATB
choir, 2 recorders f1,
oboe I/oboe d'caccia i,
oboe II, oboe IIi/oboe
d'caccia II, 4 trumpets,
timpani, 2 violins,
viola, basso continuo
SKU: CA.3111919
Cantata for the
inauguration of town
councils in Leipzig.
Composed by Johann
Sebastian Bach. Edited by
Uwe Wolf. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
German title: Preise,
Jerusalem Neuausgabe
U.Wolf. Sacred vocal
music, Cantatas, Psalms,
German, Praise and
thanks. Set of Orchestra
Parts. Composed 1723. BWV
119. Duration 27 minutes.
Carus Verlag #CV
31.119/19. Published by
Carus Verlag
(CA.3111919).
ISBN
9790007136673. Key: C
major. Language:
German/English. Text:
Goes, Albrecht. Text:
Albrecht
Goes.
Bach's first
cantata for the election
of the Leipzig town
council, composed in
August 1723, is one of
his most splendidly
scored work from his
Leipzig period. The
choice of opening, with
the representative form
of a French overture, was
suited to a festive
orchestral scoring. Two
choral movements frame a
middle section which
consists of two arias and
a recitativo accompagnato
with a trumpet
ritornello. The
conclusion of this
extended festive music
takes a reflective turn
in movements 8 and 9,
when Bach allows a
recitative to be followed
by simple, prayer-like
chorale movement. Score
and parts available
separately - see item
CA.3111900.
SATB vocal soli, SATB choir, 2 recorders f1, oboe I/oboe d'caccia i, oboe II, ob...(+)
SATB vocal soli, SATB
choir, 2 recorders f1,
oboe I/oboe d'caccia i,
oboe II, oboe IIi/oboe
d'caccia II, 4 trumpets,
timpani, 2 violins,
viola, basso continuo
SKU: CA.3111913
Cantata for the
inauguration of town
councils in Leipzig.
Composed by Johann
Sebastian Bach. Edited by
Uwe Wolf. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Preise, Jerusalem
Neuausgabe U.Wolf. Sacred
vocal music, Cantatas,
Psalms, German, Praise
and thanks. Single Part,
Viola. Composed 1723. BWV
119. 4 pages. Duration 27
minutes. Carus Verlag #CV
31.119/13. Published by
Carus Verlag
(CA.3111913).
ISBN
9790007048778. Key: C
major. Language:
German/English. Text:
Goes, Albrecht. Text:
Albrecht
Goes.
Bach's first
cantata for the election
of the Leipzig town
council, composed in
August 1723, is one of
his most splendidly
scored work from his
Leipzig period. The
choice of opening, with
the representative form
of a French overture, was
suited to a festive
orchestral scoring. Two
choral movements frame a
middle section which
consists of two arias and
a recitativo accompagnato
with a trumpet
ritornello. The
conclusion of this
extended festive music
takes a reflective turn
in movements 8 and 9,
when Bach allows a
recitative to be followed
by simple, prayer-like
chorale movement. Score
and part available
separately - see item
CA.3111900.