Composed by
Ed Kiefer. SWS. Carl
Fischer Symphonic
Performance Series. Full
score. With Standard
notation. 24 pages.
Duration 3 minutes, 56
seconds. Carl Fischer
Music #SPS74F. Published
by Carl Fischer Music
(CF.SPS74F).
ISBN
9781491148396. UPC:
680160905898. 9 x 12
inches.
Courage of
the Cossacks is a
refreshing march in the
style of Russian folk
music, offering a break
from the standard
American march style for
festival performance.
Composer Ed Kiefer has
scored this piece to
sound sonorous throughout
while highlighting all
sections of the band.
Directors looking for a
unique march need look no
further.
For Orchestra.
Composed by Nancy
Galbraith. Orchestra.
Study Score. Composed
1997. Duration 3'. Subito
Music Corporation
#90810040. Published by
Subito Music Corporation
(SU.90810040).
Instrumentation
: 3fl(picc), 2ob, 2cl,
2bn; 4hn, 3tpt, 2tbn(bs),
tba; timp, 4 perc, hrp,
pno; strings Duratiion:
3' Full Score & Parts:
available on rental
Composed: 1997 Published
by: Subito Music
Publishing Composer's
Note: A Festive Violet
Pulse opens with lively
textures in the woodwinds
which are used as
accompaniment for a
melodic statement in the
violins. This melody is
answered contrapuntally
by the celli, and
develops into a web of
repeated melodic phrases.
The middle section is
very rhythmic,
highlighting the
percussion section and
making use of many
polyrhtyhms. A soft
tremolo begins to emerge
in the strings and
gradually evolves into
the foreground material.
A repeated note theme
enters in the celli and
is answered sequentially
by each string section. A
strong statement of the
original theme in the
trumpets and violins
climaxes the movement.
--N.G.
Composed by
Ed Kiefer. SWS FS. Carl
Fischer Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
2+8+8+4+8+8+8+4+4+4+4+4+4
+6+6+6+4+4+6+6+6+4+6+8+2+
1+4+4+24 pages. Duration
3 minutes, 56 seconds.
Carl Fischer Music
#SPS74. Published by Carl
Fischer Music (CF.SPS74).
ISBN 9781491147696.
UPC: 680160905195. 9 x 12
inches. Key: F
minor.
Courage of
the Cossacks is a
refreshing march in the
style of Russian folk
music, offering a break
from the standard
American march style for
festival performance.
Composer Ed Kiefer has
scored this piece to
sound sonorous throughout
while highlighting all
sections of the band.
Directors looking for a
unique march need look no
further. Courage of
the Cossacks was written
for my friends in Union
County, NC . Based on
several Cossack folk
tunes it is a very dark
sounding march which
features almost every
section of the band . The
trio is one of the most
beautiful oppressive
melodies I have ever
heard, and it is set in
stark contrast to the
upbeat, Russian sounding
opening strains . After
the trio comes to a halt,
the piece restarts
slowly, gradually
accelerating to the final
strain, much like many
Cossack dances . A
combination of March and
Dance, this piece is not
too difficult to perform
and is very rewarding for
both students and
audiences . Courage of
the Cossacks is a great
piece to begin or end any
concert and a perfect
march for showing off
your group at festival
.
An English Triptych Orchestre d'harmonie [Conducteur] - Facile Claude T. Smith Publications
Grade 3 SKU: CL.CTS-8067-01 Composed by Pappas. Concert Band. Extra full ...(+)
Grade 3
SKU:
CL.CTS-8067-01
Composed by Pappas.
Concert Band. Extra full
score. Composed 2018.
Claude T. Smith
Publications
#CTS-8067-01. Published
by Claude T. Smith
Publications
(CL.CTS-8067-01).
This delightful
setting of three
traditional songs from
the British Isles will be
an excellent additional
to any program.
Masterfully set to
capture the sound of the
Highlands, feature your
flute or piccolo players
with prominent solos.
An English Triptych Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Claude T. Smith Publications
Grade 3 SKU: CL.CTS-8067-00 Composed by Pappas. Concert Band. Score and s...(+)
Grade 3
SKU:
CL.CTS-8067-00
Composed by Pappas.
Concert Band. Score and
set of parts. Composed
2018. Claude T. Smith
Publications
#CTS-8067-00. Published
by Claude T. Smith
Publications
(CL.CTS-8067-00).
This delightful
setting of three
traditional songs from
the British Isles will be
an excellent additional
to any program.
Masterfully set to
capture the sound of the
Highlands, feature your
flute or piccolo players
with prominent solos.
Seaside Road Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band - Grade 4 SKU: BT.DHP-1064005-040 Concert March. Comp...(+)
Concert Band - Grade 4
SKU:
BT.DHP-1064005-040
Concert March.
Composed by Itaru Sakai.
Brilliant Marches. March.
Set (Score & Parts).
Composed 2006. De Haske
Publications #DHP
1064005-040. Published by
De Haske Publications
(BT.DHP-1064005-040).
9x12 inches.
English-German-French-Dut
ch.
This piece was
composed in the summer of
2000, on commission of
the Whightull Wind
Ensemble. Seaside Road is
a march in two-four time.
The work begins with a
tempestuous sound,
followed by a light
passage. Featuring,
amongst others, your Bass
Clarinet and Euphonium
soloists in the trio
section, the work builds
towards an agile tutti
before concluding with a
powerful closing section.
A must for all your
summer season concerts.
Questa marcia del
giovane compositore
giapponese Itaru Sakai
inizia con foga. La
musica si placa e il tono
diventa più leggero.
L’assolo di
clarinetto basso alla
fine del trio riprende il
materiale tematico
esposto precedentemente
dagli eufoni. Dopo questo
passaggio fluido e calmo,
la melodia si sviluppa e
si intensifica per
arrivare ad un vivace
tutti, trovando la sua
conclusione in un breve
assolo
dell’ottavino che
conduce ad un finale
maestoso.
Concert March.
Composed by Itaru Sakai.
Brilliant Marches. March.
Score Only. Composed
2006. 44 pages. De Haske
Publications #DHP
1064005-140. Published by
De Haske Publications
(BT.DHP-1064005-140).
9x12 inches.
English-German-French-Dut
ch.
This piece was
composed in the summer of
2000, on commission of
the Whightull Wind
Ensemble. Seaside Road is
a march in two-four time.
The work begins with a
tempestuous sound,
followed by a light
passage. Featuring,
amongst others, your Bass
Clarinet and Euphonium
soloists in the trio
section, the work builds
towards an agile tutti
before concluding with a
powerful closing section.
A must for all your
summer season concerts.
Questa marcia del
giovane compositore
giapponese Itaru Sakai
inizia con foga. La
musica si placa e il tono
diventa più leggero.
L’assolo di
clarinetto basso alla
fine del trio riprende il
materiale tematico
esposto precedentemente
dagli eufoni. Dopo questo
passaggio fluido e calmo,
la melodia si sviluppa e
si intensifica per
arrivare ad un vivace
tutti, trovando la sua
conclusione in un breve
assolo
dell’ottavino che
conduce ad un finale
maestoso.
Composed by
Victor Herbert. Symphonic
Band (SPS). Set of Score
and Parts. With Standard
notation.
3+12+12+6+6+3+12+24+24+6+
6+8+8+6+6+9+18+18+27+8+8+
8+8+9+9+9+9+12+3+6+6+40+6
pages. Duration 7:37.
Carl Fischer Music
#SPS78. Published by Carl
Fischer Music (CF.SPS78).
ISBN 9781491152553.
UPC: 680160910052. Key:
Bb major.
Festival
March is presented in a
new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. Festival
March by Victor Herbert
was written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 .
Composed by
Victor Herbert. Symphonic
Band (SPS). Full score.
With Standard notation.
40 pages. Carl Fischer
Music #SPS78F. Published
by Carl Fischer Music
(CF.SPS78F).
ISBN
9781491153239. UPC:
680160910731.
Festi
val March is presented in
a new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. About the
CompositionFestival March
by Victor Herbert was
written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 .
Chinese Folk Dance Suite Saxophone Soprano et Piano [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Piano, soprano Saxophone SKU: PR.114419290 Composed by Chen...(+)
Chamber Music Piano,
soprano Saxophone
SKU:
PR.114419290
Composed
by Chen Yi. Edited by
Chen Yi. Arranged by Wong
Tak Chiu. Sws. Score and
parts. 44 pages. Duration
20 minutes. Theodore
Presser Company
#114-41929. Published by
Theodore Presser Company
(PR.114419290).
ISBN
9781491135235. UPC:
680160676118. 9 x 12
inches.
Supported
by a major commissioning
award from the Serge
Koussevitzky Music
Foundation in the Library
of Congress, my Chinese
Folk Dance Suite is
written for violin solo
and orchestra, and
premiered by The Women's
Philharmonic with violin
soloist Terrie Baune,
conducted by Apo Hsu, on
March 10, 2001, at Yerba
Buena Center For the Arts
Theater in San Francisco.
Inspired by various
Chinese traditional folk
dances, I've composed
three movements in the
suite: 1) Lion Dance.
Traditionally, people
dance with richly
decorated hand made
lions, accompanied by
percussion ensemble, to
celebrate happy occasions
and major festivals
throughout the country.
In the composition, I use
Chinese drum and other
percussion instruments in
the background, to form a
dynamic and rhythmic
texture responding to the
solo part, which imitates
the tunes played on the
suona (traditional
Chinese trumpet). The
pitch materials came from
traditional Guangdong
Music tune and Chaozhou
Music tune ; 2) YangKo.
Originated in northern
China, it's a major folk
dance form in mass
performance popularized
in the country. In YangKo
performance, people
always play rhythmic
patterns on the drums
hung around their waists
while singing and
dancing. In my second
movement, I have imagined
a warm scene of YangKo
dancing in distance. The
solo violin plays a sweet
and gracious melodic line
while all members in the
orchestra sing the
non-pitch syllables in
different layers as the
soft background, to
imitate the percussion
sound which produces the
ever going pulse. 3)
Muqam. It is a large
scale traditional music
and dance form from Uygur
nationality in Xinjiang
province, originated in
the 15th century. In my
third movement, I keep
the meter of seven eight
and the melodic style of
Muqam music. The fiery
dancing gesture cumulates
the sustained climax
section at the end of the
work, after a colorful
violin cadenza in both
improvisational singing
style and polyphonic
writing with woven lines.
Scored for 2 flutes (2nd
doubling piccolo), 2
oboes, 2 clarinets in Bb,
2 bassoons, 4 French
horns in F, 2 trumpets in
Bb, 3 trombones,
percussion 1 (3 congas,
low tom-tom, temple
block, paddle castanets),
percussion 2 (snare drum,
6 small Beijing opera
gong, 12 big Beijing
opera gong, crotales,
tambourine), percussion 3
(suspended cymbal, a pair
of 6 Chinese cymbals,
bass drum), solo violin,
violins I, violins II,
violas, cellos and double
basses. Duration is about
16 minutes. The work is
recorded on Bis [CD-1352]
and released in 2003,
performed by Cho-Liang
Lin and the Singapore
Symphony Orchestra, cond.
by Lan Shui. Reduction
for B-flat soprano
saxophone and piano by
Wong Tak Chiu (2017) and
edited by Chen Yi (2018)
The second movement
YangKo is premiered by
Dr. Wong and Korak
Lerpibulchai at the
Singapore Saxophone
Symposium on 8/13/2017.
The American premiere of
the saxophone and piano
reduction version of
Chinese Folk Dance Suite
is given by Chi Him Chik
and Hao Yin at the
Society for American
Music National Conference
in Kansas City, MO on
3/2/2018.
Auf der Suche nach der
verlorenen Zeit.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Essen, May 4,
1975
Solo concerto;
Music post-1945. Study
Score. Composed 1975. 80
pages. Duration 17'.
Breitkopf and Haertel #PB
4891-07. Published by
Breitkopf and Haertel
(BR.PB-4891-07).
ISBN
9790004206874. 6.5 x 9
inches.
Das
Concerto da camera will
weder eine
barockisierende noch
avantgardistische Musik
fur die Blockflote sein -
sondern ein
instrumentgerechtes,
abwechslungsreiches,
temperamentvolles Stuck.
Der Solopart (im Wechsel
von Alt- und
Piccolo-Flote) ist
virtuos und
ausdrucksstark zugleich
angelegt, unter
Berucksichtigung der in
den letzten Jahren fur
die Blockflote speziell
entwickelten Techniken
(uberblasene Akkorde,
Flackergerausche,
Fingervibrato etc.). Die
relativ umfangreiche
Orchesterbesetzung (funf
Holz-, vier Blechblaser,
Harfe, Schlagwerk,
Streicher) soll farbige
Kontraste schaffen und
verschiedene Strukturen
verdeutlichen. Im ersten
Satz, einem knappen
,,Preludio bringt das
Solo-Instrument
verfremdete Zitate aus
dem langsamen Satz eines
Telemann-Konzertes
(a-moll) uber
Klangflachen von
Streichern und Blasern.
Zweiter Satz: Ein
mehrteiliges,
rhapsodisches Allegro,
bei dem der Part der
Blockflote von
Repetitionsfiguren
bestimmt wird. Das
Orchester setzt
mosaikahnliche kurze
dodekaphonische und
serielle Klanggruppen und
-blocke dagegen. Im
ruhigeren Zwischenteil
korrespondiert die
Solostimme mit dichtem
polyphon gefuhrten
Streicherensemble. Der
langsame Satz ,
Mittelpunkt des ganzen
Konzerts, entwickelt sich
als weit ausgesponnene
Fantasie und
kristallisiert sich um
die einzelnen Zeilen der
alten Liedweise
,,Innsbruck, ich muss
dich lassen - ,,auf der
Suche nach der verlorenen
Zeit. Ein rhythmisch
eigenwilliges
zwolftoniges
Bass-Ostinato beherrscht
das Finale, greift
allmahlich in steter
Steigerung auf alle
Stimmen uber und ubertont
schliesslich den
Solopart. Nach kurzer
Klimax kehrt das Thema
nach und nach in die
Bassregister zuruck,
wahrend das
Solo-Instrument mit
virtuosen Spielfiguren
dominiert. Eine Fanfare
und eine im Unisono aus
der Hohe herabschiessende
Figur leiten diesen
letzten Satz ein,
erscheinen in der Mitte
und am Ende, ehe eine
humorvolle Stretta das
Werk beschliesst. Das
,,Concerto da camera ist
an kein festes
Kompositionsprinzip
gebunden; es konfrontiert
den relativ zarten Klang
der Blockflote mit den
verschiedenen
lautstarkeren
Orchestergruppen und
zeigt in diesem
Spannungsfeld die
Moglichkeiten und Grenzen
des Soloinstruments
auf.(Jurg
Baur)Bibliography:Schneid
er, Michael: Verschmitzt
Jurg Baur und die
Blockflote, in: Tibia 38
(2013), S.
418-431.Wallerang, Lars:
Die Orchesterwerke Jurg
Baurs als Dialog zwischen
Tradition und Moderne,
Koln: Dohr 2003.
Recorder and piano (solo: rec - 1(picc).1.cor ang.0.2. - 2.1.1.0. - timp.perc(2)...(+)
Recorder and piano (solo:
rec - 1(picc).1.cor
ang.0.2. - 2.1.1.0. -
timp.perc(2) - hp.guit ad
lib. - str)
SKU:
BR.EB-6762
Auf der
Suche nach der verlorenen
Zeit. Composed by
Jurg Baur. Solo
instruments; Softcover.
Edition Breitkopf.
World premiere: Essen,
May 4, 1975
Solo
concerto; Music
post-1945. Piano
reduction. Composed 1975.
28 pages. Duration 17'.
Breitkopf and Haertel #EB
6762. Published by
Breitkopf and Haertel
(BR.EB-6762).
ISBN
9790004169636. 9 x 12
inches.
Das
Concerto da camera will
weder eine
barockisierende noch
avantgardistische Musik
fur die Blockflote sein -
sondern ein
instrumentgerechtes,
abwechslungsreiches,
temperamentvolles Stuck.
Der Solopart (im Wechsel
von Alt- und
Piccolo-Flote) ist
virtuos und
ausdrucksstark zugleich
angelegt, unter
Berucksichtigung der in
den letzten Jahren fur
die Blockflote speziell
entwickelten Techniken
(uberblasene Akkorde,
Flackergerausche,
Fingervibrato etc.). Die
relativ umfangreiche
Orchesterbesetzung (funf
Holz-, vier Blechblaser,
Harfe, Schlagwerk,
Streicher) soll farbige
Kontraste schaffen und
verschiedene Strukturen
verdeutlichen. Im ersten
Satz, einem knappen
,,Preludio bringt das
Solo-Instrument
verfremdete Zitate aus
dem langsamen Satz eines
Telemann-Konzertes
(a-moll) uber
Klangflachen von
Streichern und Blasern.
Zweiter Satz: Ein
mehrteiliges,
rhapsodisches Allegro,
bei dem der Part der
Blockflote von
Repetitionsfiguren
bestimmt wird. Das
Orchester setzt
mosaikahnliche kurze
dodekaphonische und
serielle Klanggruppen und
-blocke dagegen. Im
ruhigeren Zwischenteil
korrespondiert die
Solostimme mit dichtem
polyphon gefuhrten
Streicherensemble. Der
langsame Satz ,
Mittelpunkt des ganzen
Konzerts, entwickelt sich
als weit ausgesponnene
Fantasie und
kristallisiert sich um
die einzelnen Zeilen der
alten Liedweise
,,Innsbruck, ich muss
dich lassen - ,,auf der
Suche nach der verlorenen
Zeit. Ein rhythmisch
eigenwilliges
zwolftoniges
Bass-Ostinato beherrscht
das Finale, greift
allmahlich in steter
Steigerung auf alle
Stimmen uber und ubertont
schliesslich den
Solopart. Nach kurzer
Klimax kehrt das Thema
nach und nach in die
Bassregister zuruck,
wahrend das
Solo-Instrument mit
virtuosen Spielfiguren
dominiert. Eine Fanfare
und eine im Unisono aus
der Hohe herabschiessende
Figur leiten diesen
letzten Satz ein,
erscheinen in der Mitte
und am Ende, ehe eine
humorvolle Stretta das
Werk beschliesst. Das
,,Concerto da camera ist
an kein festes
Kompositionsprinzip
gebunden; es konfrontiert
den relativ zarten Klang
der Blockflote mit den
verschiedenen
lautstarkeren
Orchestergruppen und
zeigt in diesem
Spannungsfeld die
Moglichkeiten und Grenzen
des Soloinstruments auf.
(Jurg Baur) Bibliography:
Schneider , Michael:
Verschmitzt Jurg Baur und
die Blockflote, in: Tibia
38 (2013), S. 418-431.
Wallerang , Lars: Die
Orchesterwerke Jurg Baurs
als Dialog zwischen
Tradition und Moderne,
Koln: Dohr
2003.
Composed by Adam Gorb.
Arranged by Michael
Brand. Band Music. Score
only. Duration 4:20.
Published by G & M Brand
Music Publishers
(CN.S11242).
Scenes from an
English Landscape is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end of
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax.
This is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. I
imagined a community of
villagers coming out of
church and filling a
village square with their
vibrant presence. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end o
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax. Adam Gorb was
born in Cardiff and
started composing at the
age of ten. His first
work broadcast on
national radio was
written when he was
fifteen. He studied at
Cambridge University
(1977-1980) and the Royal
Academy of Music
(1991-1993) where he
graduated with the
highest honours including
the Principal's Prize. He
has been on the staff at
the London College of
Music and Media, the
junior Academy of the
Royal Academy of Music
and, since 2000 he has
been the Head of School
of Composition at the
Royal Northern College of
Music in Manchester .
International recognition
came in 1994 with the US
Walter Beeler Prize for
his work Metropolis .
With it began what has
developed into probably
the most important wind
ensemble catalogue by a
contemporary composer,
ranging from extremely
challenging to the most
accessible, at all
technical levels, seized
on by players
internationally, widely
recorded and now
absolutely central to the
world's wind repertoire.
Equally important though
are his works for dance,
and concert pieces like
the chamber orchestral
Weimar , the Violin
Sonata , a Clarinet
Concerto for the Royal
Liverpool Philharmonic
Orchestra and Diaspora
for strings (for the
Goldberg Ensemble).
Deceptively mainstream at
first glance, they
display the same
inventive brilliance,
pulsating sound world,
striking use of rhythm
and an undogmatic absence
of stylistic hang-ups to
embrace jazz and
serialism in works where
power, poetry, irony and
pathos, often underlaid
by a theatrical and
deeply subversive
element, coalesce in an
integrated, highly
individual musical voice.
Gorb is also not afraid
to draw on the vivid
musical heritage of his
Jewish roots, sometimes
directly, often in a more
subsumed or radically
creative way. The crucial
and consistent feature of
Gorb's work though is
that it communicates
strongly without
patronizing players or
audiences. He firmly
believes that if
contemporary music - any
music - does not impact
on listeners then its
message is irrelevant; it
is lost.
For
Orchestra. Composed
by Nancy Galbraith.
Orchestra. Study Score.
Composed 2003. Duration
7'. Subito Music
Corporation #90810130.
Published by Subito Music
Corporation
(SU.90810130).
Instrumentation
: 3fl(picc), 2ob, 2cl,
2bn; 4hn, 3tpt, 3tbn(bs),
tba; timp, 4perc, pno;
strings Duration: 7' Full
Score & Parts: available
on rental Composed: 2003
Published by: Subito
Music Publishing
Composer's Note:
Maintaining a persistent
beat throughout, Fantasy
for Orchestra begins with
a dramatic and highly
energetic theme stated
immediately in the
violins. The range of
expression is wide,
moving from dance-like
rhythms -- making use of
irregular meters -- to
rather dreamy textures.
Throughout much of the
work, even in the softer,
more fantasy-like middle
section, the use of
percussion -- gongs,
cowbells, and various
drums -- is prevalent.
--N.G.