| Festival March Orchestre d'harmonie - Avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymb...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Timpani, Triangle,
Trombone 1 and more. -
Grade 5 SKU:
CF.SPS78 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.
 . $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Little Drummer Dude - Choral Book Chorale Unison Unison/2-parties, Piano - Facile Word Music
Unison/2-part choir - Easy SKU: WD.080689633171 Composed by Daniel Semsen...(+)
Unison/2-part choir -
Easy SKU:
WD.080689633171
Composed by Daniel
Semsen. Choral, cantatas.
Christmas. Choral score
and book. Word Music
#080689633171. Published
by Word Music
(WD.080689633171).
UPC:
080689633171. Meet
the up-and-coming
Persia’s
Traveling
Band—or
PTB, as their fans call
them—who are out
on “their
biggest tour
yet!†with
their little
“roadieâ€
Abel. Along the way, they
meet three Wise Men, who
are following a star in
search for a King who has
just been born. With the
possibility of playing
for a Royal audience, PTB
decides to join the Wise
Men and make the journey
to Bethlehem. After all,
what better way for the
band to be discovered and
rise to the top the
charts than playing for a
King?
During
this fantastic journey,
the little dude named
Abel, who is sort of a
‘roadie’ for
PTB, unveils his passion
for playing the drums.
While the band does not
take his playing
seriously, the Wise Men
notice his talent and
encourage his efforts,
knowing that he has a
very special gift. One of
the Wise Men expresses to
Abel that perhaps he
might even get to play
his drum for the
King…Will Abel get
his wish??
To
learn the
outcome—and
finally get to meet this
King to be born in
Bethlehem—you
€™ll have to come
along on the journey with
Abel, Persia’s
Traveling Band, the three
Wise Men, and
Abel’s
fantastically whacky and
fun camel, Hakim! Through
The Little Drummer
Dude, each and every
kid in your
children’s
ministry will learn that
God can do amazing things
through everyone, even if
they are “just a
little dude.â€
Set
Pieces
- Repeatable 3-Panel
Backdrop of the Persian
Desert
- Bethlehem
Star Panel Insert
-Each panel
is 6 feet tall x 3 feet
wide Fun
Kit includes:
- Cinch Bag
- Listening CD
- Noise Drum
- Soft-and-Stretchy
Bracelet
- The
Little Drummer Dude
Sticker!
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rise of the Phoenix - Facile Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5 SKU: C...(+)
Orchestra violin 1,
violin 2, violin 3,
viola, cello, bass -
Grade 2.5 SKU:
CF.YAS230 Composed by
Carlos Lalonde. Set of
Score and Parts. Duration
3:30. Carl Fischer Music
#YAS230. Published by
Carl Fischer Music
(CF.YAS230). ISBN
9781491162781. UPC:
680160921539. Key: E
minor. The phoenix
is a mythical symbol that
dates back to ancient
times, representing the
idea of rebirth and being
born again out of the
ashes. This piece
explores the idea of
taking a rhythmic motive
and developing it in such
a way that it gains
momentum, then dies away
before rising to even
greater heights. Set in E
minor, this piece works
in particular on the
finger pattern for
D-sharp accidentals in
all parts. The fiery
theme builds slowly using
accented accompaniments
and dramatic dynamics to
build intensity. A brief
lull reveals a lyrical
melody, allowing players
to perfect four-note
slurs with optional
shifting in first violin.
Then the opening theme
returns with even greater
fire, growing to a
glorious finale.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 1712 Overture Orchestre Theodore Presser Co.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra SKU:
PR.416415760 For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760). UPC:
680160636532. 9 x 12
inches. The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 1712 Overture Orchestre Theodore Presser Co.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra SKU:
PR.41641576L For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L). UPC:
680160636549. 11 x 17
inches. The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| At Her Ladyship's Request Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Chimes, Clarinet 1, Clarinet 2, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass, Contrabass
Clarinet, Contrabassoon,
Crash Cymbals, Euphonium,
Flute 1, Flute 2, Flute
3, Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1 and more. SKU:
PR.11540233L A
Period Piece for Bands of
Winds. Composed by
Carter Pann. Spiral.
Large Score. 58 pages.
Duration 12:30. Theodore
Presser Company
#115-40233L. Published by
Theodore Presser Company
(PR.11540233L). ISBN
9781491129418. UPC:
680160674367. 11 x 14
inches. At Her
Ladyship's Request (2016)
was an idea born out of
admiration for the wind
works of Percy Grainger -
most notably his
Lincolnshire Posey. The
names and places here are
all fictitious. Four
countrymen have come
forward at Her Ladyship's
request as we commoners
(and for as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship. I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his father's fortune.
Cecil Abel may be the
richest man in the land
save for His Lordship.
Tom, his only son, will
run his face straight
into that pile the moment
his old man kicks. II. It
is rare to spy Father
Daniel Bennett, High
Priest from the Abbey at
Lockwood Cross, loitering
in our very own town
square...but not as of
late. III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway? IV. Pettybone!
Conniving... insidious. I
don't believe there has
been a greater rivalry
among men for
generations. The Duke's
ego alone could run our
nation. The grudges he
grows are notorious. His
mount is legendary. The
day has come to collect
his toll. At Her
Ladyship’s Request
(2016) was an idea born
out of admiration for the
wind works of Percy
Grainger – most
notably his Lincolnshire
Posey.The names and
places here are all
fictitious. Four
countrymen have come
forward at Her
Ladyship’s request
as we commoners (and for
as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship.I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his father’s
fortune. Cecil Abel may
be the richest man in the
land save for His
Lordship. Tom, his only
son, will run his face
straight into that pile
the moment his old man
kicks.II. It is rare to
spy Father Daniel
Bennett, High Priest from
the Abbey at Lockwood
Cross, loitering in our
very own town
square…but not as
of late.III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway?IV. Pettybone!
Conniving…
insidious. I don’t
believe there has been a
greater rivalry among men
for generations. The
Duke’s ego alone
could run our nation. The
grudges he grows are
notorious. His mount is
legendary. The day has
come to collect his
toll. $60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Confitebor Tibi Carl Fischer
Choral Cello, Piano, Viola, Violin 1, Violin 2, SATB chorus SKU: CF.CM9655(+)
Choral Cello, Piano,
Viola, Violin 1, Violin
2, SATB chorus SKU:
CF.CM9655 Composed by
Johann Aiblinger. Edited
by Martin Banner. Fold.
Performance Score. 8
pages. Duration 1:45.
Carl Fischer Music
#CM9655. Published by
Carl Fischer Music
(CF.CM9655). ISBN
9781491157275. UPC:
680160915835. 6.875 x
10.5 inches. Key: A
minor. Latin, Latin.
Psalm
111. Confitebor
Tibi (Psalm 111) is the
second movement in a
collection entitled 14
Psalmi breves (14 Short
Psalms), by Johann
Aiblinger. Written for
SATB choir and piano, or
optional strings,
Banner's edition is
highly accessible for the
burgeoning mixed choir
interested in exploring
the classical style of
singing. Highly
recommend!. Johann
Caspar Aiblinger was born
in Wasserburg am Inn,
Germany in 1779. His
early musical training
was received at the
Benedictine Abbey in
Tegernsee. He spent most
of his adult life in
Munich, holding a variety
of posts, including
Kapellmeister at the
Italian Opera and the
court church in that
city, where he composed a
large number of Masses
and small scale church
works. Aiblinger passed
away in Munich in 1867.
CONFITEBOR TIBI (Psalm
111) is the second
movement in a collection
entitled 14 Psalmi breves
(14 Short Psalms),
written for SATB choir
and strings. This edition
is based upon a hand
copied score located in
the Sachsische
Landesbibliothek-Staats-u
nd
Universitatsbibliothek,
Mus.4528-D-2,1. The score
is laid out over four
pages, two systems per
page, eight staves per
system. The present
edition adheres closely
to the above mentioned
source, noting editorial
markings in parentheses.
Voice parts, where
notated in moveable
clefs, were rewritten in
treble clef; phrase
markings in the voice
parts were added where
two or more notes
occurred for a single
syllable of text; textual
underlay, given generally
only in the soprano and
tenor parts, was added to
the alto and bass parts.
Martin Banner. Johann
Caspar Aiblinger was born
in Wasserburg am Inn,
Germany in 1779. His
early musical training
was received at the
Benedictine Abbey in
Tegernsee. He spent most
of his adult life in
Munich, holding a variety
of posts, including
Kapellmeister at the
Italian Opera and the
court church in that
city, where he composed a
large number of Masses
and small scale church
works. Aiblinger passed
away in Munich in
1867.CONFITEBOR TIBI
(Psalm 111) is the second
movement in a collection
entitled “14 Psalmi
breves†(14 Short
Psalms), written for SATB
choir and strings. This
edition is based upon a
hand copied score located
in the Sächsische
Landesbibliothek-Staats-u
nd
Universitätsbibliothek
, Mus.4528-D-2,1. The
score is laid out over
four pages, two systems
per page, eight staves
per system.The present
edition adheres closely
to the above mentioned
source, noting editorial
markings in parentheses.
Voice parts, where
notated in moveable
clefs, were rewritten in
treble clef; phrase
markings in the voice
parts were added where
two or more notes
occurred for a single
syllable of text; textual
underlay, given generally
only in the soprano and
tenor parts, was added to
the alto and bass
parts.Martin Banner. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| John Henry's Big Trombone et Piano Theodore Presser Co.
Chamber Music Trombone, Piano SKU: PR.114414450 Man vs. Machine. C...(+)
Chamber Music Trombone,
Piano SKU:
PR.114414450 Man
vs. Machine. Composed
by Adolphus Hailstork.
Sws. Folk. Set of Score
and Parts. With Standard
notation. Composed 2009.
24+8 pages. Duration 12
minutes. Theodore Presser
Company #114-41445.
Published by Theodore
Presser Company
(PR.114414450). ISBN
9781598064087. UPC:
680160597635. 9x12
inches. Inspired by
the tale of a legendary
folk hero, Adolphus
Hailstork’s
tour-de-force for
trombone and piano is a
riveting portrayal of the
steely strength and
stamina of John Henry, a
former slave who helped
build the American
railroads and ultimately
outperformed a steam
engine. This composition
uses quotes from the
spiritual Every Time I
Feel the Spirit and the
folk song The Ballad of
John Henry. For advanced
players. Duration:
13’_______________
_________________________
__Text on the scanned
back cover:JOHN HENRY'S
BIG(MAN vs. MACHINE)FOR
TROMBONE AND
PIANOInspired by the tale
of the legendary hero,
Adolphus
Hailstork’s
tour-de-force for
trombone and piano is a
riveting portrayal of the
steely strength and
stamina of John Henry, a
former slave who helped
build the American
railroads and ultimately
outperformed a steam
engine. PROGRAM NOTES
by the ComposerJohn Henry
was born a slave in the
1840’s or
1850’s. It is
important to remember
that no one knows for
sure if John Henry
existed or is a tall tale
created by writers. That
is one of the things that
makes the legend so
intriguing.According to
the legend, he grew to
stand 6 feet tall, 200
pounds – a giant
in that day.Though the
story of John Henry
sounds like the
quintessential tall tale,
it is certainly based, at
least in part, on
historical circumstance.
There are disputes as to
where the legend
originates. Some place
John Henry in West
Virginia, while recent
research suggests
Alabama. Still, all share
a similar back-story.In
order to construct the
railroads, companies
hired thousands of men to
smooth out terrain and
cut through obstacles
that stood in the way of
the proposed tracks. One
such chore that figures
heavily into some of the
earliest John Henry
ballads is the blasting
of the Big Bend Tunnel,
more than a mile straight
through a mountain in
West
Virginia.Steel-drivinâ
™ men like John Henry
used large hammers and
stakes to pound holes
into the rock, which were
were then filled with
explosives that would
blast a cavity deeper and
deeper into the mountain.
In the folk ballads, the
central event took place
under such conditions.
Eager to reduce costs and
speed up progress, some
tunnel engineers were
using steam drills to
power their way into the
rock. According to the
great American tall
tales, on hearing of the
machine, John Henry
challenged the steam
drill to a contest. He
won, but died of
exhaustion, his life cut
short by his own
superhuman effort.This
composition uses quotes
from the spiritual Every
Time I Feel the Spirit
and the folk song The
Ballad of John Henry.JOHN
HENRY’S BIG was
composed for trombonist
David Jackson. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Let's Dance Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1064040-015 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2 SKU:
BT.DHP-1064040-015
Composed by Henk
Hogestein. Flexible 6
Series. Original Light
Music. Set (Score and
Parts). Composed 2006. De
Haske Publications #DHP
1064040-015. Published by
De Haske Publications
(BT.DHP-1064040-015).
9x12 inches.
English-German-French-Dut
ch. Letâ??s Dance
takes you on an exciting
night of dancing, being
cool on the dance floor
with your designer
clothes, dancing the
night away and forgetting
about your daily worries.
Itâ??s party time on the
dance floor with this
grooving new work.
¬Letâ??s
Dance is een heel
afwisselend werk in zes
delen met de veelzeggende
titels Be Cool, Disco
Flight, Slow Motion,
Party Dream, Go on and
Dance en Born to
Dance. Een gezellig
avondje stappen tot in de
kleine uurtjeswordt
muzikaal belicht. Met
deze levendige en
hedendaagse compositie
komen zowel de muzikanten
als het publiek in een
swingende
stemming.
Partysti
mmung und Discofeeling
sind mit diesem Stück
von Henk Hogestein
garantiert. Die Titel der
sechs Sätze sprechen
für sich: Be Cool,
Disco Flight, Slow
Motion, Party Dream, Go
on and Dance und Born to
Dance. Wer kann bei
so einem Programm noch
still sitzen?
Letâ??s
Dance dâ??Henk
Hogestein est le morceau
quâ??il vous faut pour
soulever
lâ??enthousiasme du
public. Be cool, Disco
Flight, Slow Motion,
Party Dream, Go on and
Dance et Born to
Dance, six mouvements
qui bougent et groovent !
Letâ??s
Dance è il brano
ideale per animare lo
spirito del vostro
pubblico. Be Cool,
Disco Flight, Slow
Motion, Party Dream, Go
on and Dance e
Born to Dance, sei
movimenti che faranno
danzare chi vi
ascolta! $137.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| All Is Well Cloches - Facile Hope Publishing Company
Handbells 3-5 octave handbell choir - Level 2 SKU: HP.2895 Composed by Mi...(+)
Handbells 3-5 octave
handbell choir - Level 2
SKU: HP.2895
Composed by Michael W.
Smith and Wayne
Kirkpatrick. Arranged by
Lloyd Larson.
Contemporary, Hymntune,
Christmas. Handbell
score. 8 pages. Hope
Publishing Company #2895.
Published by Hope
Publishing Company
(HP.2895). UPC:
763628128951. Michael W.
Smith; Wayne
Kirkpatrick. Contem
porary classic by
Michael W. Smith and
Wayne Kirkpatrick
This Lloyd Larson setting
of Michael W. Smith's
contemporary classic
captures the tender and
simple melodic
interpretation found in
the artist's own
rendition, while at the
same time creating a lush
choral version to enhance
the Christmas worship
experience. It spans the
spectrum dynamically
while underscoring the
overall theme that
Emmanuel has been born
and now, All is well.
The addition of the
optional instrument parts
for flute, oboe, horn and
cello can heighten the
impact of the
performance.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax or
Clarinet), Clarinet in
B-flat, Bassoon (or Bass
Clarinet), Horn in F (or
Clarinet), 2 Trumpets in
B-flat, 2 Trombones (or
Baritone T. C. ),
Percussion 1 and 2,
Piano, Harp, 2 Violins,
Viola, Cello, String
Reduction. $7.00 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| 60 Warm-Up Chorales for Concert Band (Harmonie) Orchestre d'harmonie Hal Leonard
Concert Band (Score & Parts) SKU: HL.4008643 Score and Parts. Comp...(+)
Concert Band (Score &
Parts) SKU:
HL.4008643 Score
and Parts. Composed
by Franco Cesarini.
Arranged by Franco
Cesarini. Editions Franco
Cesarini. Concert Band,
Tuning, Warm-Up.
Softcover. Hal Leonard
#EFC003-CBHA. Published
by Hal Leonard
(HL.4008643). ISBN
9798350114997. UPC:
196288189664. Durin
g his experience as a
band conductor and
teacher of wind orchestra
conducting at university,
Franco Cesarini has dealt
with the topic of
warm-ups very frequently.
Throughout these long
years of conducting he
has had the opportunity
to try many existing
methods, evaluating their
advantages and
disadvantages. After a
long time, he has decided
to compile a collection
of chorales for warm-ups,
which are organized
according to the criteria
that he considers most
effective. While working
on his60 Warm-up Chorales
for Concert Band, Franco
Cesarini has always borne
in mind that amateur
musicians play for
pleasure. He feels that
it is extremely important
that they have
satisfaction at every
moment of the rehearsal
and not to start the
rehearsal with needless
“punishingâ€
exercises. Nobody is
really motivated to start
playing with scales, long
notes, or tricky
rhythmical exercises.
There is often a
distinguished absentee in
band rehearsals, namely
music itself! Although
this publication does not
foresee a specific tempo
for the chorales, they
should often be performed
rather slowly but without
dragging. Dynamics are
not indicated, so that
the conductor has the
opportunity to draw the
attention of the
musicians to his gestures
and to make them react
according to his
indications. Timpani and
bell parts have been
added with the aim of not
leaving the
percussionists completely
inactive during the
warm-up phase, but can
also be omitted. The
chorales are written in
four parts (SATB) and are
also playable in smaller
groups. The four voices
can be played in
different combinations of
woodwinds or brass
quartets or in mixed
combinations. The
collection includes ten
chorales for the
following keys: D flat
major, A flat major, E
flat major, B flat major,
F major and C major. With
his 60 Warm-up Chorales
Franco Cesarini would
like to convey the
message to play the
chorales in a musical
way, thus raising the
musiciansÂ’awareness
of phrasing, the right
interpretation of
cadences, rubato and
agogic. Above all, never
do anything
withoutputting the
musical aspect in the
foreground. $206.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| All Is Well Hope Publishing Company
Solo Solo instrument (Cello, Flute, French Horn, Oboe, Rhythm) SKU: HP.C5351O...(+)
Solo Solo instrument
(Cello, Flute, French
Horn, Oboe, Rhythm)
SKU: HP.C5351O
Composed by Michael W.
Smith and Wayne
Kirkpatrick. Arranged by
Lloyd Larson. Piano
Accompaniment with
Optional Orchestra or
Rhythm. Contemporary,
Christmas, Assurance,
Sacred. Set of
Instrumental Parts. Hope
Publishing Company
#C5351O. Published by
Hope Publishing Company
(HP.C5351O). UPC:
763628353513. By Michael
W. Smith & Wayne
Kirkpatrick. Luke 2:14,
Matthew 1:22, Matthew
1:23. Contemporary
classic by Michael W.
Smith & Wayne
Kirkpatrick This
Lloyd Larson setting of
Michael W. Smith's
contemporary classic
captures the tender and
simple melodic
interpretation found in
the artist's own
rendition, while at the
same time creating a lush
choral version to enhance
the Christmas worship
experience. It spans the
spectrum dynamically
while underscoring the
overall theme that
Emmanuel has been born
and now, All is well.
The addition of the
optional instrument parts
for flute, oboe, horn and
cello can heighten the
impact of the
performance.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax or
Clarinet), Clarinet in
B-flat, Bassoon (or Bass
Clarinet), Horn in F (or
Clarinet), 2 Trumpets in
B-flat, 2 Trombones (or
Baritone T. C. ),
Percussion 1 & 2, Piano,
Harp, 2 Violins, Viola,
Cello, String
Reduction. $89.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| All Is Well Hope Publishing Company
Choral 2-part mixed choir, piano accompaniment SKU: HP.C6225 Composed by ...(+)
Choral 2-part mixed
choir, piano
accompaniment SKU:
HP.C6225 Composed by
Michael W. Smith and
Wayne Kirkpatrick.
Arranged by Lloyd Larson.
Piano Accompaniment with
Optional Orchestra or
Rhythm. Contemporary,
Christmas, Birth of Jesus
Christ. Octavo. 8 pages.
Hope Publishing Company
#C6225. Published by Hope
Publishing Company
(HP.C6225). UPC:
763628162252. Michael W.
Smith; Wayne
Kirkpatrick. Contem
porary classic by
Michael W. Smith &
Wayne Kirkpatrick
This Lloyd Larson setting
of Michael W. Smith's
contemporary classic
captures the tender and
simple melodic
interpretation found in
the artist's own
rendition, while at the
same time creating a lush
choral version to enhance
the Christmas worship
experience. It spans the
spectrum dynamically
while underscoring the
overall theme that
Emmanuel has been born
and now, All is well.
The addition of the
optional instrument parts
for flute, oboe, horn and
cello can heighten the
impact of the
performance.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax or
Clarinet), Clarinet in
B-flat, Bassoon (or Bass
Clarinet), Horn in F (or
Clarinet), 2 Trumpets in
B-flat, 2 Trombones (or
Baritone T. C. ),
Percussion 1 & 2, Piano,
Harp, 2 Violins, Viola,
Cello, String
Reduction. $3.25 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Concerto Saxophone Alto et Piano Sikorski
Alto Saxophone; Piano Accompaniment (Score and Solo Part) SKU: HL.50601598(+)
Alto Saxophone; Piano
Accompaniment (Score and
Solo Part) SKU:
HL.50601598 Alto
Saxophone and Piano
Reduction Exempla Nova
680. Composed by
Edison Denisov. Woodwind
Solo. Classical.
Softcover. 121 pages.
Sikorski #SIK8880.
Published by Sikorski
(HL.50601598).
8.0x11.75
inches. The
catalogue of Edison
Denisov's works includes
16 concertos. It was a
genre to which he
returned time and again
throughout his life, from
the Concerto for Cello
and Orchestra of 1972 to
the Double Concerto for
Flute, Clarinet and
Orchestra of 1996.In
Denisov's music the role
of the soloist, or rather
the protagonist, is
extraordinarily
important, not so much
for its virtuosity as for
its confessional
character. The solo part
is a monologue
distinguished by poetic
diction and a very
personal message from
thecomposer. The
dramaturgical conception
of the Concerto for
Saxophone and Orchestra,
a reworking of the Viola
Concerto of 1986, draws
on traditional sonata
form, thereby reaffirming
the ubiquitous classicism
in Denisov's thought. In
this late work, we find
all the typical features
of his style: sinuous
melodic lines layered
into dense contrapuntal
textures, and an
interplay of orchestral
colours, with pure
sonorities contrasting
with complex mixtures of
sounds. It is a perfect
dramaturgy that governs
the evolution of the
music to the very end.
The first movement
assumes the role of a
sonata-allegro, with the
standard formal sections
of exposition,
development,recapitulatio
n and coda. The second
movement is an Adagio for
strings. The third takes
the form of a little
contrasting intermezzo
that introduces both new
thematic material and a
new range of colours.
Here tunefulness gives
way to pointillism
enriched with
soniceffects. The only
movement with a virtuosic
solo part, its
nervousness and inner
tension set it worlds
apart from the second and
fourth movements that
surround it. The fourth
movement assumes the
traditional form of a
final set of variations.
It is the dramaturgical
and semantic heart of the
concerto. The theme of
the variations is Franz
Schubert's Impromptu in
B-flat major, op. 142,
which in this case is
'born' from the celesta
as the product of a
dodecaphonic string
cluster. This finale
represents Denisov's
homage to his great
mentor, Schubert's music
being for him a symbol of
eternal and universal
beauty. 'The attentive
listener', Denisov
stressed, 'will recognise
that the Impromptu theme
is already suggested very
slowly in the course of
the three preceding
movements, not only
thematically, but also
psychologically. That's
what makes the appearance
of the Schubert theme
sound so natural.' The
variations relate to the
variation genre less in
their form than in their
spiritual and conceptual
metamorphoses. It is, one
might say, 'music round
about Schubert'.
(Ekaterina
Kouprovskaia-Denisova).
p>
$64.00 - Voir plus => Acheter | | |
| Salentin Orchestre d'harmonie - Intermédiaire Hal Leonard
Score and Parts Concert Band (Score & Parts) SKU: HL.4008814 March for...(+)
Score and Parts Concert
Band (Score & Parts)
SKU: HL.4008814
March for Concert
Band, Grade 3 3:30 Score
and Parts. Composed
by Gauthier Dupertuis. FC
Music Publishing. Concert
Band, March. Softcover.
Duration 210 seconds. Hal
Leonard #FCMP008-CBHA.
Published by Hal Leonard
(HL.4008814). ISBN
9798350125856. UPC:
196288209850. Salen
tin is Gauthier
Dupertuis' tribute to the
Valais, the Swiss Canton
where he was born.
Salentin is a mountain
from which there is a
spectacular view of
Vernayaz, the composer's
village of origin. This
piece is structured in
such a way that all
registers of the band are
highlighted. It is
suitable for performance
in parade, but also as a
concert march. Salentin
is dedicated to the
Concert Band of Martigny
(Valais/Switzerland) and
its conductor, Dany
Rossier, who premiered
Salentin during a concert
on 3rd December,
2023. $92.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Nudo Piano seul Breitkopf & Härtel
Piano SKU: BR.EB-8990 After R (A Portrait for Piano and Orchestra)...(+)
Piano SKU:
BR.EB-8990 After R
(A Portrait for Piano and
Orchestra). Composed
by Nicola Campogrande.
Solo instruments;
stapled. Edition
Breitkopf. He
re you will find the
concerto R (A Portrait
for Piano and
Orchestra). Solo
concerto; Music
post-1945; New music
(post-2000). Score.
Composed 2015. 36 pages.
Duration 15'. Breitkopf
and Haertel #EB 8990.
Published by Breitkopf
and Haertel (BR.EB-8990).
ISBN 9790004187197. 9
x 12 inches. A
Musical Portrait In 2012
Nicola Campogrande
received a rather
singular commission when
a total stranger asked
him to compose a musical
portrait of his fiancee.
The man knew exactly what
he wanted: a concerto for
piano and orchestra.
After some reflection,
Campogrande realised that
he would be able to paint
with music. It would
never be possible, of
course, to recognise the
shape of the woman's face
or the colour of her
hair, but the score could
evoke the way in which
she occupied space and
time, and the different
movements of the
composition would be like
the faces on a rotating
prism. Campogrande thus
accepted the commission
and the stranger sent him
a few photos of his
fiancee, spoke to him
about her and, finally,
introduced him to her.
This is how R (A portrait
for piano and orchestra)
was born, first performed
in April 2013 by Lilya
Zilberstein with the
Orchestra Verdi in Milan.
Subsequently, following
other performances and a
TV documentary, a number
of different pianists
asked Campogrande to
write a version for solo
piano. Hence Nudo
emerged, a piece that
would be very similar to
R , were it not for the
fact that, as the title
suggests, the pianist is
naked, without orchestral
clothing. Information on
Nudo on the composer's
website Audio recording
of Nudo (YouTube) Un
portrait musical En 2012,
Nicola Campogrande s'est
vu proposer une
commission fort
singuliere ; un parfait
etranger lui demandait de
composer le portrait
musical de sa compagne.
L'homme savait exactement
ce qu'il voulait : un
concert pour piano et
orchestre. Apres quelques
hesitations, Campogrande
s'est rendu compte qu'il
pouvait se servir de la
musique comme d'un
pinceau. Bien entendu, il
ne serait jamais possible
de reconnaitre la forme
du visage de la femme ou
la couleur de ses
cheveux, mais la
partition pourrait
evoquer la facon dont
elle se deplacait dans
l'espace et dans le
temps, et les differents
mouvements de la piece
seraient comme les
figures d'un prisme en
rotation. Campogrande a
donc accepte la
commission ; l'etranger
lui a envoye des photos
de sa compagne, il lui a
parle d'elle, avant de
les faire se rencontrer
personnellement. Ainsi
est ne R (Un portrait
pour piano et orchestre)
, interprete pour la
premiere fois en avril
2013 par Lilya
Zilberstein et
l'orchestre Verdi de
Milan. D'autres
executions ont suivi,
ainsi qu'un documentaire
televise, apres quoi
plusieurs pianistes ont
prie Campogrande d'ecrire
une version pour piano
seul. C'est ainsi que
Nudo a vu le jour : un <<
nu >> tres semblable au
premier portrait, si ce
n'est que le piano s'y
trouve, comme le suggere
le titre, depouille de
son vetement orchestral.
Ritrarre con la musica
Nel 2012 Nicola
Campogrande ha ricevuto
la piu singolare delle
commissioni, quando un
perfetto sconosciuto gli
ha chiesto di comporre il
ritratto musicale della
sUrauffuhrung fidanzata.
L'uomo sapeva esattemente
cio che voleva: un
concerto per pianoforte e
orchestra. Dopo qualche
esitazione, Campogrande
si e reso conto di poter
dipingere con la musica;
certo, non sarebbe stato
possibile riconoscere la
forma del viso della
donna o il colore dei
suoi capelli, ma la
partitura avrebbe evocato
il modo nel quale lei si
muoveva nello spazio e
nel tempo, e i vari
movimenti del brano
sarebbero stati come le
facce di un prisma in
rotazione. Campogrande ha
dunque accettato la
commissione e lo
sconosciuto gli ha
mandato alcune foto della
sUrauffuhrung fidanzata,
gli ha parlato di lei e,
alla fine, gliela ha
presentata personalmente.
E cosi nato cosi R (Un
ritratto per pianoforte e
orchestra ), eseguito per
la prima volta
nell'aprile 2013 da Lilya
Zilberstein insieme
all'Orchestra Verdi di
Milano.In seguito, dopo
altre esecuzioni e un
documentario tv, diversi
pianisti hanno chiesto a
Campogrande di preparare
una versione per
pianoforte solo. E stato
cosi che ha preso forma
Nudo , un brano del tutto
simile a R tranne per il
fatto che, come
suggerisce il titolo, il
pianista e nudo, senza un
abito orchestrale. 'Nudo'
is a scintillating work
that paints a vivid and
fascinating sequence of
musical portraits of its
subject. And the
Breitkopf score is simply
superb.
(www.pianodao.com). $31.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Marche fatale Piano seul Breitkopf & Härtel
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; st...(+)
Piano SKU:
BR.EB-9253 Composed
by Helmut Lachenmann.
Solo instruments;
stapled. Edition
Breitkopf. World
premiere of the
orchestral version:
Stuttgart, January 1,
2018World premiere of the
piano version: Mito, June
17, 2017 Have a
look into EB
9283. New music
(post-2000). Score.
Composed 2016/17/20. 12
pages. Duration 8'.
Breitkopf and Haertel #EB
9253. Published by
Breitkopf and Haertel
(BR.EB-9253). ISBN
9790004185537. 9 x 12
inches. Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Tanja-Katja II Schott
Female Voice; Violin SKU: HL.49015651 Songs without words in folk styl...(+)
Female Voice; Violin
SKU: HL.49015651
Songs without words in
folk style - for Female
Voice and Violin - Score
and Parts. Composed
by Rodion Shchedrin. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score and
Parts. Composed 1998. 16
pages. Duration 8'.
Schott Music #ED9535.
Published by Schott Music
(HL.49015651). ISBN
9790001133548. UPC:
073999644944.
9.0x12.0x0.07 inches.
Vocalise. Profound
Slavonic emotion and
thrilling virtuosity
distinguish many of
Rodion Shchedrin's
compositions. Even though
he has long since become
a citizen of the world,
the composer born in
Moscow has held on to his
Russian origins and has
never lost his ties with
Russian musical folklore
and poetry. In Tanya *
Katya Shchedrin uses the
syllabic content of the
two women's names alone
to develop a melodic
structure that has real
emotional depth. A broad
arc reaches all the way
from the roots of
traditional Russian song
to the use of
contemporary techniques
of composition. These
songs without words
create vivid profiles by
purely musical means *
even though we never
really find out who is
concealed behind these
two mysterious names. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Salentin Orchestre d'harmonie - Intermédiaire Hal Leonard
Concert Band (Score) SKU: HL.4008815 March for Concert Band, Grade 3 3...(+)
Concert Band (Score)
SKU: HL.4008815
March for Concert
Band, Grade 3 3:30
Score. Composed by
Gauthier Dupertuis. FC
Music Publishing. Concert
Band, March. Softcover.
Duration 210 seconds. Hal
Leonard #FCMP008-SC.
Published by Hal Leonard
(HL.4008815). UPC:
196288209867. Salen
tin is Gauthier
Dupertuis' tribute to the
Valais, the Swiss Canton
where he was born.
Salentin is a mountain
from which there is a
spectacular view of
Vernayaz, the composer's
village of origin. This
piece is structured in
such a way that all
registers of the band are
highlighted. It is
suitable for performance
in parade, but also as a
concert march. Salentin
is dedicated to the
Concert Band of Martigny
(Valais/Switzerland) and
its conductor, Dany
Rossier, who premiered
Salentin during a concert
on 3rd December,
2023. $21.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Stabat Mater - Facile Schott
Choral; Vocal (Vocal Score) - easy to intermediate SKU: HL.49046021 Vo...(+)
Choral; Vocal (Vocal
Score) - easy to
intermediate SKU:
HL.49046021 Vocal
Score. Composed by
Philipp Ortmeier. This
edition: Saddle
stitching. Sheet music.
Vocal Score. Classical,
General Worship, Sacred.
Softcover. 28 pages.
Duration 1500 seconds.
Schott Music #ED22861.
Published by Schott Music
(HL.49046021). ISBN
9790001166904. UPC:
841886033061.
Latin. Producing
novel sounds that are not
frightening but
emotionally touching and
finding wide acceptance -
this is the artistic
credo ofthe 1978 born
composer Philipp
Ortmeier. It is always
important to the native
Passauer that his
spiritual and secular
works, which have
received much attention
in Germany and abroad,
are singable and playable
by ambitious lay people.
This claim also fulfilled
his2007/08 Stabat Mater
for solo soprano,
four-part mixed choir and
string orchestra. The
work, which is based on
the famous medieval
sequence about the
grieving mother of Jesus
on the cross, consists of
a total of seven
orchestral parts. Both
the three
sectionsreserved for the
solo soprano and the four
choral parts are
characterized by
repetitive structures,
striking rhythms and
simple melodies, based on
traditional,
dissonance-enriched
major-minor tonality. An
impressive yet touching
piece of sacred choral
music that can be ideally
integrated into concert
programs and can also be
well rehearsed by amateur
choirs. $10.99 - Voir plus => Acheter | | |
| Symphony No. 3 Urban Landscapes Orchestre d'harmonie Hal Leonard
Concert Band (Study Score) SKU: HL.4008056 Op. 55 Wind Orchestra, Grad...(+)
Concert Band (Study
Score) SKU:
HL.4008056 Op. 55
Wind Orchestra, Grade 6
27:00 Study Score.
Composed by Franco
Cesarini. De Haske
Concert Band. Concert,
Fanfare, Jazz. Softcover.
Duration 1620 seconds.
Hal Leonard #EFC001-SSC.
Published by Hal Leonard
(HL.4008056). ISBN
9781705184523. UPC:
196288115953. Fasci
nated by the beauty of
Chicago, Franco Cesarini
has translated his
emotions into music: this
is how Symphony No. 3
“Urban
Landscapes†Op. 55,
was born, a musical
portrait of this
metropolis overlooking
Lake Michigan. The
composition is divided
into three movements: The
Wrigley Building from
Dawn to Noon, Blue
Silhouette and Cloud
Gates, which by sharing
the same thematic
material arranged in
cyclical form, strengthen
the overall cohesion of
the piece. The first
movement, preceded by a
short slow introduction
in which the main theme
is presented in an almost
dreamlike form,
metaphorically represents
the city at dawn. The
sudden change of time
symbolizes the start of
activities with all its
noises and sounds: you
can hear the bell that
announces the closing of
the subway doors, the
sound of cars speeding
by, the siren of a patrol
car. If the first
movement represents the
day, the second
introduces a nocturnal
environment: a
melancholic melody played
by the English horn
anticipates a more
animated tempo depicting
melodies coming from jazz
clubs. Powerful fanfares
that take up the second
theme of the first
movement introduce the
third movement. In this
finale, the role of the
two themes is reversed
compared to the first
movement and one takes
the place of the other in
a kind of games of
mirrors. Symphony No. 3
“Urban
Landscapes” Op. 55: a
sumptuous musical
portrait of the
“Windy City”. $26.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| R (A Portrait for Piano and Orchestra) Breitkopf & Härtel
Piano (pno - 2(picc).2.2.2. - 4.2.2.Btbne.1. - hp - cel - perc(4).timp - str) (+)
Piano (pno -
2(picc).2.2.2. -
4.2.2.Btbne.1. - hp - cel
- perc(4).timp - str)
SKU: BR.OB-5693-03
Composed by Nicola
Campogrande. Solo
instruments; stapled.
Orchester-Bibliothek
(Orchestral Library).
He
re you will find Nudo
for piano solo. Solo
concerto; Music
post-1945; New music
(post-2000). Solo part.
Composed 2012. 32 pages.
Duration 17'. Breitkopf
and Haertel #OB 5693-03.
Published by Breitkopf
and Haertel
(BR.OB-5693-03). ISBN
9790004347232. 10 x 12.5
inches. A Musical
Portrait In 2012 Nicola
Campogrande received a
rather singular
commission when a total
stranger asked him to
compose a musical
portrait of his fiancee.
The man knew exactly what
he wanted: a concerto for
piano and orchestra.
After some reflection,
Campogrande realised that
he would be able to paint
with music. It would
never be possible, of
course, to recognise the
shape of the woman's face
or the colour of her
hair, but the score could
evoke the way in which
she occupied space and
time, and the different
movements of the
composition would be like
the faces on a rotating
prism. Campogrande thus
accepted the commission
and the stranger sent him
a few photos of his
fiancee, spoke to him
about her and, finally,
introduced him to her.
This is how R (A portrait
for piano and orchestra)
was born, first performed
in April 2013 by Lilya
Zilberstein with the
Orchestra Verdi in Milan.
Subsequently, following
other performances and a
TV documentary, a number
of different pianists
asked Campogrande to
write a version for solo
piano. Hence Nudo
emerged, a piece that
would be very similar to
R, were it not for the
fact that, as the title
suggests, the pianist is
naked, without orchestral
clothing.Un portrait
musical En 2012, Nicola
Campogrande s'est vu
proposer une commission
fort singuliere ; un
parfait etranger lui
demandait de composer le
portrait musical de sa
compagne. L'homme savait
exactement ce qu'il
voulait : un concert pour
piano et orchestre. Apres
quelques hesitations,
Campogrande s'est rendu
compte qu'il pouvait se
servir de la musique
comme d'un pinceau. Bien
entendu, il ne serait
jamais possible de
reconnaitre la forme du
visage de la femme ou la
couleur de ses cheveux,
mais la partition
pourrait evoquer la facon
dont elle se deplacait
dans l'espace et dans le
temps, et les differents
mouvements de la piece
seraient comme les
figures d'un prisme en
rotation. Campogrande a
donc accepte la
commission ; l'etranger
lui a envoye des photos
de sa compagne, il lui a
parle d'elle, avant de
les faire se rencontrer
personnellement. Ainsi
est ne R (Un portrait
pour piano et orchestre),
interprete pour la
premiere fois en avril
2013 par Lilya
Zilberstein et
l'orchestre Verdi de
Milan. D'autres
executions ont suivi,
ainsi qu'un documentaire
televise, apres quoi
plusieurs pianistes ont
prie Campogrande d'ecrire
une version pour piano
seul. C'est ainsi que
Nudo a vu le jour : un <<
nu >> tres semblable au
premier portrait, si ce
n'est que le piano s'y
trouve, comme le suggere
le titre, depouille de
son vetement orchestral.
Ritrarre con la musica
Nel 2012 Nicola
Campogrande ha ricevuto
la piu singolare delle
commissioni, quando un
perfetto sconosciuto gli
ha chiesto di comporre il
ritratto musicale della
sua fidanzata. L'uomo
sapeva esattemente cio
che voleva: un concerto
per pianoforte e
orchestra. Dopo qualche
esitazione, Campogrande
si e reso conto di poter
dipingere con la musica;
certo, non sarebbe stato
possibile riconoscere la
forma del viso della
donna o il colore dei
suoi capelli, ma la
partitura avrebbe evocato
il modo nel quale lei si
muoveva nello spazio e
nel tempo, e i vari
movimenti del brano
sarebbero stati come le
facce di un prisma in
rotazione. Campogrande ha
dunque accettato la
commissione e lo
sconosciuto gli ha
mandato alcune foto della
sua fidanzata, gli ha
parlato di lei e, alla
fine, gliela ha
presentata personalmente.
E cosi nato cosi R (Un
ritratto per pianoforte e
orchestra), eseguito per
la prima volta
nell'aprile 2013 da Lilya
Zilberstein insieme
all'Orchestra Verdi di
Milano.In seguito, dopo
altre esecuzioni e un
documentario tv, diversi
pianisti hanno chiesto a
Campogrande di preparare
una versione per
pianoforte solo. E stato
cosi che ha preso forma
Nudo, un brano del tutto
simile a R tranne per il
fatto che, come
suggerisce il titolo, il
pianista e nudo, senza un
abito orchestrale.
Information on R on the
composer's
websiteRecording of the
premiere of R in Milano
(YouTube). $45.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Ragtimes and Habaneras Orchestre d'harmonie Schott
Winds (Score) - difficult SKU: HL.49012041 For Wind Band - Score. ...(+)
Winds (Score) - difficult
SKU: HL.49012041
For Wind Band -
Score. Composed by
Hans Werner Henze.
Arranged by Marcel
Wengler. This edition:
Paperback/Soft Cover.
Sheet music. Schott
Harmonie Serie (Concert
Band). Classical. Score.
Composed 1982. 99 pages.
Duration 14'. Schott
Music #SHS1004. Published
by Schott Music
(HL.49012041). ISBN
9790001100731. UPC:
073999895995.
9.0x12.0x0.315
inches. This work
was originally written
for brass band (see
there). At the composer's
request, his former pupil
Marcel Wengler wrote an
arrangement for Symphonie
wind band, which is equal
to the original in
ever-yway. Here Henze and
Wengler have given wind
players a work which
successfully combines a
popular style and to some
extent extremely witty
elements with the
resources of new music.
It is excellent concert
music for advanced and
Professional
orchestras.Hans Werner
Henze belongs to a small
circle of internationally
known cornposers of
serious contemporary
music. In his operas,
symphonies, and music for
ensembles and chamber
music groups, as well as
in his contributions to
music for amateurs, there
are works with a
distinctive sense of
form, delicate tonality
and rhythmic variety
which nonetheless never
lose sight of that
dimension of
humanity.Marcel Wengler
(born 1946) is now a
freelance composer. He
lives in
Luxemburg.
Picc. *
1 * 2 (ad lib.) * Engl.
Hr. (ad lib.) * Es-Klar.
* 3 * Altklar. (ad lib.)
* Bassklar. (ad lib.) * 2
Altsax. * 2 Tenorsax. *
Baritonsax. (ad lib.) * 1
(ad lib.) - 4 * 2 Flhr. *
Tenorflhr. * 3 * 3 * 2
Bombardini * 2 * 2
Kb.-Tb. - P. S. (Glsp. *
Xyl. [oder 3 Tempelbl.] *
Trgl. * Beckenpaar * 3
Bong. * kl. Tr. * 3 Tomt.
* gr. Tr. * Woodbl.) (3
Spieler). $83.00 - Voir plus => Acheter | | |
| Ukrainian Bell Carol Fanfare - Intermédiaire Anglo Music
Fanfare Band - Grade 3 SKU: BT.AMP-134-120 Composed by Mykola Leotnovich....(+)
Fanfare Band - Grade 3
SKU:
BT.AMP-134-120
Composed by Mykola
Leotnovich. Arranged by
Philip Sparke. Anglo
Music Midway Series.
Concert Piece. Score
Only. Composed 2005. 28
pages. Anglo Music Press
#AMP 134-120. Published
by Anglo Music Press
(BT.AMP-134-120). 9x12
inches.
English-German-French-Dut
ch. The
Ukrainian Bell
Carol is part of a
large choral work
entitled Shchedryk by the
Ukrainian composer Mykola
Dmytrovich Leontovych
(1877-1921). It was first
performed by students of
Kiev University in
December 1916. The tune
is an adaptation of an
old
‘shchedrivkaâ€
, a song traditionally
sung on Ukrainian New
Year’s Eve
(January 13th) which
hopes for good fortune in
the year to come. In
Shchedryk, Leontovych
added his own the lyrics
which concern the legend
claiming that when Jesus
was born, all the bells
on earth started ringing
in his honour.The tune
has since been the
inspiration of at least
four different Christmas
carols, but Philip Sparke
has sourced the
originalUkrainian melody
to create this stirring
arrangement.
De
Ukrainian Bell
Carol is onderdeel
van het grote koorwerk
Shchedryk van de
Oekra ense componist
Mykola Dmytrovich
Leontovych (1877-1921).
De melodie is gebaseerd
op een
‘shchedrivkaâ€
, een lied dat van
oudsher werdgezongen op
de Oekra ense
oudejaarsavond (13
januari). In
Shchedryk voegde
Leontovych de tekst toe
over de legende die
vertelt dat bij de
geboorte van Jezus alle
klokken op aarde begonnen
te luiden. Sindsdien is
deze melodiede
inspiratiebron geweest
voor ten minste vier
verschillende Christmas
carols, waarvan Carol
of the Bells de
beroemdste is. Voor dit
meeslepende arrangement
heeft Philip Sparke
echter de oorspronkelijke
Oekra ense
melodiegebruikt.
D
as Ukrainian Bell
Carol ist Teil eines
großen Chorwerkes
namens Shchedryk
vom ukrainischen
Komponisten Mykola
Dmytrovich Leontovych.
Leontovych ergänzte
ein traditionelles
ukrainisches Neujahrslied
um eine alte Legende, die
besagt, dass zu Ehren von
Jesu Geburt alle Glocken
läuteten. Die Melodie
diente inzwischen als
Grundlage für
mindestens vier
verschiedene
Weihnachtslieder. Philip
Sparke griff für seine
bewegende Bearbeitung
jedoch auf die originale
ukrainische Melodie
zurück.
Ukra
inian Bell Carol
constitue une des parties
de l’œuvre
chorale Shchedryk
du compositeur ukrainien
Mykola Dmytrovich
Leontovich (1877-1921).
La mélodie
s’inspire
d’un vieux chant
traditionnel ukrainien
(shchedrivka)
chanté le Jour de
l’An
(célébré le 13
janvier, conformément
au calendrier julien)
dans l’espoir que
l’année venir
se présente sous de
bons hospices.
l’écriture de
Shchedryk, Mykola
Leontovich a choisi de
changer les paroles. Il
opte pour la légende
selon laquelle, toutes
les cloches des
églises se sont mises
carillonner joyeusement
pour annoncer la
naissance de Jésus. La
mélodie du chant a
inspiré au moins
quatre
noëlsdifférents.
Carol of the Bells
en est la version la plus
célèbre. Elle a
été adaptée en
1936 (texte et
mélodie) par Peter J.
Wilhousky (1902-1978)
d’après la
version originale de
Mykola Leontovich. Philip
Sparke s’est
basé sur la mélodie
du chant traditionnel
ukrainien pour
réaliser cet
arrangement brillant et
pétillant.
Ukrainian Bell
Carol costituisce una
delle parti
dell’opera corale
Shchedryk del compositore
ucraino Mykola Dmytrovich
Leontovich (1877-1921).
Il testo narra una
leggenda secondo la quale
le campane delle chiese
si sono messe a suonare
per annunciare la nascita
di Gesù. La melodia di
Leontovich ha ispirato
almeno quattro canti
natalizi diversi. Carol
of the Bells di Peter
J.Wilhousky è la
versione più celebre.
Philip Sparke ha scelto
di ispirarsi alla melodia
originale del canto
tradizionale ucraino
(shchedrivka) per
realizzare questo
brillante
arrangiamento. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Eloise Orchestre d'harmonie - Intermédiaire/avancé Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-149-140 Composed by Paul Ryan...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.AMP-149-140
Composed by Paul Ryan.
Arranged by Philip
Sparke. Anglo Music
Midway Series. Pop &
Rock. Score Only.
Composed 2006. Anglo
Music Press #AMP 149-140.
Published by Anglo Music
Press (BT.AMP-149-140).
9x12 inches.
English-German-French-Dut
ch. Paul and Barry
Ryan were identical twin
sons of 1950’s pop
singer Marion Ryan and
were born on 24th October
1948. They were groomed
for stardom and had
started singing as a duo
before their fifteenth
birthday. They were
signed by Decca in 1965
and brilliantly marketed
as clean-cut fashion
icons. Their first single
‘Don’t Bring
Me Your
Heartaches’
reached the UK top twenty
but their success as twin
performers lasted only
three years. In 1968
Barry embarked on a solo
career while Paul
concentrated on writing
and producing. Eloise
with its melodramatic
vocal style and heavily
orchestrated backing was
an early success of this
new collaboration and
went on to be covered by
a variety ofartists,
including punk legends
The Damned.
De
eeneiige tweelingbroers
Paul en Barry Ryan
vormden al een zangduo
voor hun vijftiende
verjaardag. In 1965
tekenden ze een contract
bij Decca en werden ze op
een briljante manier voor
het voetlicht gebracht
als keurige
mode-idolen,maar hun
succes als
tweelingartiesten duurde
slechts drie jaar. In
1968 begon Barry aan een
solocarrière terwijl
Paul zich concentreerde
op het schrijver- en
producerschap.
Eloise, een stevig
georkestreerd,
melodramatischgezongen
nummer, was een vroege en
succesvolle vrucht van
deze samenwerking. De
song werd in de loop der
tijd vertolkt door
diverse
artiesten.
Paul
und Barry Ryan waren die
Zwillingssöhne der
50er-Jahre-Popsängerin
Marion Ryan. Den beiden
Brüdern war eine
Zukunft als Popstars in
die Wiege gelegt. Bereits
vor ihrem 15. Geburtstag
traten sie als Duo auf.
Später verlegte sich
Paul jedoch aufs
Songschreiben und Barry
trat solo auf. Der Hit
Eloise mit seinem
melodramatischen
Gesangsstil und dem stark
orchestrierten
Hintergrund ist ein
Resultat dieser
erfolgreichen
Zusammenarbeit und wurde
in der Folge von
zahlreichen Künstlern
neu interpretiert. Philip
Sparke machte den
Pop-Evergreen nun auch
für Blasorchester
spielbar.
Paul et
Barry Ryan étaient
jumeaux, nés le 24
octobre 1948, fils de la
chanteuse pop des
années 1950 Marion
Ryan. Formés pour la
célébrité, ils
ont commencé chanter
en duo avant l’ ge
de quinze ans. En 1965
ils ont signé un
contrat
d’enregistrement
avec Decca qui a
commercialisé leur
image soignée
d’icônes de la
mode. Leur premier single
Don’t Bring Me
Your Heartaches est
parvenu au top 20 du
hit-parade britannique,
mais leur succès deux
n’a duré que
trois ans. En 1968, Barry
a entrepris une
carrière solo tandis
que Paul s’est
concentré sur la
composition et la
production.
Eloise, avec son
style vocal
mélodramatique et son
accompagnement très
orchestral, étaitun
succès précoce pour
cette nouvelle
collaboration. De
nombreux artistes
l’ont depuis
reprise, telles que les
légendes du punk The
Damned.
Figli
gemelli di Marion Ryan,
celebre cantante pop
degli anni ’50,
Paul e Barry Ryan si
esibivano insieme gi
prima di aver compiuto
quindici anni.Nel 1965
firmano un contratto con
la casa discografica
Decca e commercializzano
con successo la loro
immagine di icone della
moda. Il primo single
entra nelle top 20
britanniche. Nel 1968,
Barry si lancia nella
carriera di solista,
mentre Paul si concentra
sulla composizione e la
produzione.
Eloise, una
canzone dallo stile
vocale melodrammatico che
si sviluppa su un
importante
accompagnamento
orchestrale, è uno dei
primi successi della
collaborazione tra i due
fratelli. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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