Piano. Composed by Claude Debussy (1862-1918). Edited by Wilhelm Ohmen. This edi...(+)
Piano. Composed by Claude
Debussy (1862-1918).
Edited by Wilhelm Ohmen.
This edition: Saddle
stitching. Sheet music.
Edition Schott - Single
Edition. Classical.
Softcover. 32 pages.
Schott Music #ED09859.
Published by Schott Music
Ave Maris Stella Chorale SATB SATB divisi, A Cappella Pavane Publishing
Composed by Kevin A. Memley. Arranged by Vaclav Pokorny. Sheet music. Pavane S...(+)
Composed by Kevin A.
Memley.
Arranged by Vaclav
Pokorny.
Sheet music. Pavane
Secular.
Octavo. 12 pages. Pavane
Publishing #P1607.
Published
by Pavane Publishing
Composed by Bud Woodruff.
First-Plus String
Orchestra (FAS). Full
score. With Standard
notation. 8 pages. Carl
Fischer Music #FAS108F.
Published by Carl Fischer
Music (CF.FAS108F).
ISBN 9781491151761.
UPC: 680160909261. 9 x 12
inches.
Annie's
Gone Home, composed in
the style of a spiritual,
was written as a tribute
to composer Bud
Woodruff's mother. The
tune is built on phrases
of easily understandable
material, but the
poignant nature of the
piece is marked with
profundity. From the
subtle bass solo to the
emotional high points,
the piece is inspired by
this strong woman in the
life of the
composer.
Annies Gone
Home is a tribute to
my Mother, Annette Fenner
Hains (19232017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended.
.
Annieas Gone
HomeA is a tribute
to my Mother, Annette
Fenner Hains (1923a2017).
Her siblings and cousins
always called her
aAnnie.a She loved music,
and her influence was the
primary inspiration for
me to go into music. Her
tastes were wildly
diverse, loving
everything from symphonic
music to Country/Western,
to various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended.
.
Annieas Gone
HomeA is a tribute
to my Mother, Annette
Fenner Hains (1923a2017).
Her siblings and cousins
always called her
aAnnie.a She loved music,
and her influence was the
primary inspiration for
me to go into music. Her
tastes were wildly
diverse, loving
everything from symphonic
music to Country/Western,
to various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended.
.
Annie's Gone
Home is a tribute to
my Mother, Annette Fenner
Hains (1923-2017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended.
. Annie's
Gone Home is a tribute to
my Mother, Annette Fenner
Hains (1923-2017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is easy to
interpret grief in this
music, and its presence
is undeniable, it is
really intended more as a
song of the ultimate
triumph of goodness. In
her wisdom, she was able
to capture deep thoughts
within simple phrases,
which I have also tried
to capture. Her life was
one of frequent
struggles, yet she was
inspiring to many. She
emerged from every
difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. Annieâ€
s Gone Home is a
tribute to my Mother,
Annette Fenner Hains
(1923–2017). Her
siblings and cousins
always called her
“Annie.†She
loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and
spirituals.While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended.
Choral SA choir, piano SKU: CF.CM9576 1. Who Robbed the Woods 2. Cool ...(+)
Choral SA choir, piano
SKU: CF.CM9576
1. Who Robbed the
Woods 2. Cool is the
Valley Now. Composed
by Paul David Thomas.
Sws. Performance Score.
16 pages. Carl Fischer
Music #CM9576. Published
by Carl Fischer Music
(CF.CM9576).
ISBN
9781491153987. UPC:
680160912483. 6.875 x
10.5 inches. Key: G
minor. English. Emily
Dickinson (1830-1886) ,
Walt Whitman
(1819-1892).
The
two pieces, Who Robbed
the Woods? and O Cool is
the Valley Now, combine
to create a set that both
explores the subtle
beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinsons poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees behalf, who
would do such a thing?
Whitman ponders a trees
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 712. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 3953). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modes lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
910, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39-53). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning a
cappella section should
be hushed yet intense; a
richer, fuller sound may
be brought out in the
middle section where the
key shifts to Bb major
and the choir sings of
the many noble qualities
of trees (mm. 39-53). O
Cool is the Valley Now
also makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
“Who Robbed the
Woods?†and
“O Cool is the
Valley Now,â€
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around
us.The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson’s poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees’ behalf,
who would do such a
thing? Whitman ponders a
tree’s silent
majesty and power and its
ability to be “yet
say nothing at
all.â€The musical
setting begins and ends
in the mode of G-Dorian
while moving briefly in
the middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7–12. The
beginning a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm.
39–53).O Cool is
the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode’s lack
of a leading tone gives
the melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9–10, imitating
the rolling hills and
valleys evoked in the
text. The phrases of the
vocal lines should also
be flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p. 14.
Book/Online Audio Oboe - Difficulty: medium SKU: HL.400679 Music Minus...(+)
Book/Online Audio Oboe -
Difficulty: medium
SKU: HL.400679
Music Minus One
Oboe. Composed by
Various. Sheet music with
online audio. Music Minus
One. Classical and Play
Along. Softcover sheet
music and online audio.
With solo part, standard
notation and introductory
text. 26 pages. Music
Minus One #MMO3412.
Published by Music Minus
One (HL.400679).
ISBN
9781596153592. UPC:
077712334129. 9x12
inches.
Joseph
Robinson of The Double
Reed says of Elaine
Douvas in this recording:
Eschewing overt
expression in favor of
implication and subtlety,
she offers performances
that are stylish and full
of passion and conviction
to be sure, but which,
like all great art,
withstand and reward the
most careful scrutiny.
Expert phrasing and
articulation by Elaine
Douvas in this album
demonstrate persuasively
that the pieces she has
chosen are sufficient to
challenge the finest
player's imagination,
discipline and
instrumental skill. This
album is a delight for
any oboist and again
contains a rich
collection of music from
many periods, from
Telemann to Hindemith.
Includes sheet music
printed on high-quality
ivory paper, annotated
with performance
suggestions and a compact
disc with complete
versions (with soloist)
followed by piano
accompaniments to each
piece, minus the soloist.
Soloist: Elaine Douvas,
oboe. Ensemble: Erik
Nielsen, piano.
Art in the Park Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
By Robert Sheldon. For Concert Band. Concert Band. Alfred Concert Band. Level: 5...(+)
By Robert Sheldon. For
Concert Band. Concert
Band. Alfred Concert
Band. Level: 5
(Difficult) (grade 5).
Conductor Score and
Parts. 300 pages.
Published by Alfred
Publishing.
Fantasia on the Rondo from the Piano Sonata in A major K. 331 by Wolfgang Am...(+)
Fantasia on the Rondo
from
the Piano Sonata in A
major
K. 331 by Wolfgang
Amadeus
Mozart, arranged for harp
by
Ekaterina Afanasieva
(2015).
Composed by Fazil Say.
Arranged by Ekaterina
Afanasieva. This edition:
Saddle stitching. Sheet
music. Der Finalsatz der
Sonate A-Dur KV 331 von
Wolfgang Amadeus Mozart,
das
Rondo Alla Turca, ist
eines
der bekanntesten
Klavierstucke uberhaupt.
An
diese Popularitat knupft
das
als effektvolle Zugabe
entstandene Stuck von
Faz?l
Say in der Bearbeitung
fur
Harf. Classical. Single
sheet. Composed 1993. Op.
5b.
8 pages. Duration
4'. Schott
Music #ED22797. Published
by
Schott Music
Double
Concerto for Violin,
Viola and Orchestra.
Composed by John Casken.
This edition: Saddle
stitching. Sheet music.
Study Score. Classical,
Contemporary. Softcover.
Composed 2012-2013. 88
pages. Duration 25'.
Schott Music #ED13706.
Published by Schott Music
(HL.49044812).
ISBN
9790220135026. UPC:
841886023376.
8.25x11.75x0.277
inches.
Casken's
inspired double concerto
for violin and viola
makes reference to a John
Donne poem depicting two
lovers on the bank of a
river with their hands
entwined. The dialogue
between soloists is
organic in its complexity
with the orchestra
providing a fragmented
yet driving backdrop.
Piano. Composed by Bela Bartok (1881-1945). Edited by Laszlo Somfai. Sheet m...(+)
Piano. Composed by Bela
Bartok (1881-1945).
Edited by
Laszlo Somfai. Sheet
music.
Henle Music Folios.
Classical. Softcover. Op.
20.
G. Henle #HN1405.
Published
by G. Henle
By Keith Getty. Arranged by Stuart Townend. For handbells (2-3 octaves) / handch...(+)
By Keith Getty. Arranged
by Stuart Townend. For
handbells (2-3 octaves) /
handchimes (2-3 octaves).
Christmas. Level 2. Sheet
Music. Published by
Lorenz Publishing Company
By Keith Getty. Arranged by Stuart Townend. For handbells (4-5 octaves) / handch...(+)
By Keith Getty. Arranged
by Stuart Townend. For
handbells (4-5 octaves) /
handchimes (4-5 octaves).
Christmas. Level 2. Sheet
Music. Published by
Lorenz Publishing Company
Piano SKU: HL.48186486 Composed by Isabelle Aboulker. Leduc. Softcover. 3...(+)
Piano
SKU:
HL.48186486
Composed
by Isabelle Aboulker.
Leduc. Softcover. 32
pages. Alphonse Leduc
#AL30753. Published by
Alphonse Leduc
(HL.48186486).
UPC:
888680829018. 9x12
inches.
“AL
30 753 - MILA AND THE
SHIP TREE - Version for
piano For decades the
French composer Isabelle
Aboulker has been very
successful with vocal
works for children and
young people, in whom
well-known fairy tales
are processed. Now she
has once again met with
Mila and the Schiffbaum,
a work commissioned by
the Académie
musicale by Villecroze in
the course of the project
”“3 composers
write for the
school”“, and
by the French music
publishers with the music
prize 2015 in the
category ”“
Works for young
performers
”“. With this
composition, Isabelle
Aboulker has created a
musical story for
narrator, children's
choir and instrumental
accompaniment, which
helps children between
five and eight years in
educational and valuable
ways to gain first
experiences with music
theater and choral
singing. Thanks to an
excellent German
translation, the
successful work can now
also be found in the
German-speaking world.
With the deep sensitivity
and subtlety that is the
secret of her art,
Isabelle Aboulker tells
of a little girl who
succeeds in getting over
the loss of a loved one,
namely, his grandfather.
The highly charming
melodies of this piece,
written for unanimous
children's choir, are
joined by an instrumental
accompaniment in which
tender melancholy and
subtle humor alternate -
this musical language
comes directly from the
heart. AL 30 754 - Choral
Partitur (German and
French text) The work is
also available in English
translation: AL 30 732 -
version for speaker,
children's choir and
piano (French and English
text) AL 30 743 - Choral
Partitur (French and
English text) As well as
with other instrumental
accompaniments: AL 30 733
- version for speaker,
children's choir and trio
(clarinet in B, cello and
piano) (French and
English text) AL 30 734 -
version for spokesman,
children's choir and
instrumental ensemble
(French, English, German,
French, Italian,
Italian)&rdquo.
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 9:00. Published
by Manhattan Beach Music.
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Grade
3. Conductor Full Score.
Duration 9:00
Composed by Derek
Bourgeois. Arranged by
Mikkelson. Score only.
Duration 15:00. Published
by G & M Brand Music
Publishers (CN.S11307).
Sea Dreams was
written in memory of the
composer's wife, Jean.
After an introduction,
which is not heard again
until the end of the
piece, the music becomes
a rondo allegro, and
gradually builds to a big
climax. At the very end
there is an oblique
reference to the
Liebestod of Wagner's
Tristan and
Isolde.
Sea Dreams
was originally a
commission, in 2007, from
an American University
who wanted me to write a
piece in memory of my
first wife, Jean, who
died in 2006. I set about
writing the music and
quickly completed the
score early in 2008, but,
unfortunately, because of
the sudden collapse in
the worldwide financial
markets the commission
itself fell through. The
music draws on three of
the pieces that I had
written for Jean in the
early days before we were
married, namely two
violin sonatas (she was a
violinist) and the
'Serenade' Opus 22 one of
my most popular pieces.
However the bulk of the
music is new, and the
quotes from these early
pieces are subtle and
merely passing
references, not at all
like the originals. After
an introduction, which is
not heard again until the
end of the piece, the
music becomes a rondo
allegro, and gradually
builds to a big climax.
At the very end there is
an oblique reference to
the Liebestod of Wagner's
Tristan and Isolde. Sea
Dreams was premiered by
Birmingham Symphonic
Winds, conducted by Keith
Allen, on Saturday March
20th 2010 at the CBSO
Centre, Birmingham,
England.
Composed by Derek
Bourgeois. Arranged by
Mikkelson. Score and
parts. Duration 15:00.
Published by G & M Brand
Music Publishers
(CN.R10307).
Sea Dreams was
written in memory of the
composer's wife, Jean.
After an introduction,
which is not heard again
until the end of the
piece, the music becomes
a rondo allegro, and
gradually builds to a big
climax. At the very end
there is an oblique
reference to the
Liebestod of Wagner's
Tristan and Isolde.
Sea Dreams was
originally a commission,
in 2007, from an American
University who wanted me
to write a piece in
memory of my first wife,
Jean, who died in 2006. I
set about writing the
music and quickly
completed the score early
in 2008, but,
unfortunately, because of
the sudden collapse in
the worldwide financial
markets the commission
itself fell through. The
music draws on three of
the pieces that I had
written for Jean in the
early days before we were
married, namely two
violin sonatas (she was a
violinist) and the
'Serenade' Opus 22 one of
my most popular pieces.
However the bulk of the
music is new, and the
quotes from these early
pieces are subtle and
merely passing
references, not at all
like the originals. After
an introduction, which is
not heard again until the
end of the piece, the
music becomes a rondo
allegro, and gradually
builds to a big climax.
At the very end there is
an oblique reference to
the Liebestod of Wagner's
Tristan and Isolde. Sea
Dreams was premiered by
Birmingham Symphonic
Winds, conducted by Keith
Allen, on Saturday March
20th 2010 at the CBSO
Centre, Birmingham,
England.
Choral 3-part mixed choir Voices with Piano SKU: CF.CM9492 Composed by Re...(+)
Choral 3-part mixed choir
Voices with Piano
SKU:
CF.CM9492
Composed by
Reginal S Wright. Fold.
Performance. With
Standard notation. 12
pages. Duration 2
minutes, 11 seconds. Carl
Fischer Music #CM9492.
Published by Carl Fischer
Music (CF.CM9492).
ISBN 9781491145968.
UPC: 680160903467. 6.875
x 10.5 inches. Key: Eb
major. Based on Wake the
Song of Joy and Gladness
by William F. Sherman
(1826-1888) with
additional words by
RW.
Celebrate Today
is a very joyful and
accessible choral setting
based on words from the
hymn Wake the Song by
William F. Sherwin. With
shifting moods from
rhythmically driving to
smooth and subtle, this
celebratory and enjoyable
piece is appropriate for
any concert throughout
the year.
Choral (ShowTrax CD) SKU: HL.8203046 By Kelly Clarkson. Arranged by Mark ...(+)
Choral (ShowTrax CD)
SKU: HL.8203046
By
Kelly Clarkson. Arranged
by Mark A. Brymer. Pop
Choral Series. Female
Voices, Pop, Rock, Show
Choir. CD only. Published
by Hal Leonard
(HL.8203046).
UPC:
884088635947. 5x5
inches.
Nobody's
going to make a fool of
Kelly Clarkson with this
empowered anthem that
shows she can stand up
for herself! Opening with
a subtle guitar groove,
the R&B infused vocals
cross genres between
urban, country and rock
for a gutsy tune your
girls will love to sing!
Available separately:
SSA, ShowTrax CD.
Duration: ca. 2:45.
Serenade Orchestre d'harmonie - Débutant Alfred Publishing
Concert Band - Grade 1.5 SKU: AP.44151 Composed by Robert Sheldon. Concer...(+)
Concert Band - Grade 1.5
SKU: AP.44151
Composed by Robert
Sheldon. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Sound Innovations for
Concert Band. Form:
Chorale. Score and
Part(s). 130 pages.
Duration 2:35. Alfred
Music #00-44151.
Published by Alfred Music
(AP.44151).
UPC:
038081497976.
English.
Serenade
by Robert Sheldon is a
lovely and lyrical
offering that will
provide your young band
with a gentle and
poignant moment on your
next concert. Subtle, yet
dramatic shifts in
tonality create interest
and momentum to this
tuneful composition.
(2:35) This title is
available in MakeMusic
Cloud.
SATB choir SKU: ST.CN26P Composed by Richard Bullen. SATB unaccompanied (...(+)
SATB choir
SKU:
ST.CN26P
Composed by
Richard Bullen. SATB
unaccompanied (with
divisions). . This
PRINTED version is
available to purchase as
a regular sheet music
title for delivery by
post. Octavo. Stainer &
Bell Ltd. #CN26P.
Published by Stainer &
Bell Ltd. (ST.CN26P).
ISBN
9790220225390.
Rich
ard Bullen's 'dark
lullaby' The
Oxen was
commissioned by Choir
& Organ magazine
for the choir of St
Paul's Cathedral, and it
was featured in the
September 2016 issue as
part of the New Music
series showcasing choral
works by young composers.
Although lilting rhythms
evoke a mood of naivety
and innocence, of
children gathered in
hushed excitement around
the fireside on Christmas
Eve as pictured in the
first verse of Hardy's
well-known poem, there is
also an edge to the music
that reflects its
nostalgic, even bitter
content. First published
in The Times on
24 December 1915, this
seasonal lyric can also
be read as a lament for
loss of innocence and of
the simple urge to faith.
We might also find in its
reflection on the
distance between the
ideals of civilisation
and its reality, a tragic
separation that continues
to this day. Part of the
subtle resonance of the
poem is its
conversational manner.
Each voice should
therefore be phrased
flexibly and feelingly in
its contribution to the
discourse, while the
tempi should be
judiciously chosen to
enhance this overall
effect according to the
prevailing acoustic.
String quartet SKU: HL.49045639 Chaconne. Composed by Fred Lerdahl...(+)
String quartet
SKU:
HL.49045639
Chaconne. Composed
by Fred Lerdahl. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2016.
108 pages. Duration 990
seconds. Schott Music #ED
30174. Published by
Schott Music
(HL.49045639).
ISBN
9781540004796. UPC:
888680710774.
9.5x12.0x0.37
inches.
Chaconne
(2016), for string
quartet, was commissioned
by the Daedalus Quartet
to celebrate its 15th
anniversary. The
commission was supported
by New Music USA, made
possible by annual
program support and/or
endowment gifts from
Pennsylvania Council on
the Arts, Helen F.
Whitaker Fund, and Aaron
Copland Fund for Music.My
music has a substantial
history with Daedalus. I
composed the Third String
Quartet (2008) for them,
and subsequently they
performed my three string
quartets on several
occasions and recorded
them brilliantly on
Bridge Records (Bridge
9352: Music of Fred
Lerdahl, vol. 3).
Chaconne is in one
movement lasting 19
minutes. It is
effectively my fourth
string quartet. Quartets
1-3 form a unified cycle
lasting 70 minutes. When
I finished the cycle, I
thought I would never
write again for the
medium; yet I could not
resist the opportunity of
working again with
Daedalus. The issue was
how to compose another
string quartet unrelated
to the earlier cycle. The
solution came from my
solo cello piece There
and Back Again (2010),
which was based on a
four-bar variation
pattern from a
17th-century chaconne.
Unlike the asymmetrical
phrases and expanding
variations of much of my
music, the chaconne form
requires symmetrical
phrases and strictly
periodic variations. I
wished to work again with
these symmetries but on a
larger scale. Chaconne
also differs in character
and expression from the
three-quartet cycle. The
cycle is inward and
intense, a kind of
psychological excavation.
Chaconne is, for the most
part, transparent and
playful. Many of its
textures emerge from
little canons, not
completely unlike the
rounds that children
sing. Any composer who
writes in chaconne form
(one thinks above all of
the last movement of
Bach's D minor violin
partita and the finale of
Brahms's Fourth Symphony)
is confronted with the
challenge of how to
create a larger form out
of a constantly repeating
pattern.My Chaconne grows
from paired
antecedent-consequent
phrases, each variation
lasting eight bars. The
50 variations group into
three large rotations,
forming three arcs of
tension and relaxation,
with subtle parallel
connections across the
rotations.
Notwithstanding my
attraction to chaconne
form, I purposefully
disguised its symmetries
and periodicities in
order to build an overall
dramatic shape. Fred
Lerdahl.
15 Well-Known Original Pieces in Progressive Order. Composed by Wolfgang ...(+)
15 Well-Known Original
Pieces in Progressive
Order. Composed by
Wolfgang Amadeus Mozart
(1756-1791). Edited by
Sylvia
Hewig-Tr�¶scher. At
the Piano. Softcover. 64
pages. G. Henle #HN1812.
Published by G. Henle
(HL.51481812).