Verso il Sole Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1053848-140 A Tribute to t...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1053848-140
A Tribute to the
Sun. Composed by
Lorenzo Bocci. Applause
Series. Original Light
Music. Score Only.
Composed 2005. 32 pages.
De Haske Publications
#DHP 1053848-140.
Published by De Haske
Publications
(BT.DHP-1053848-140).
English-German-French-
Dutch.
Since the
beginning of mankind
people have realized that
the warmth and the light
of the sun were necessary
to develop life on earth
- by creating winds in
the air, by generating
rains through the
evaporation of sea water
and by allowing plants to
grow. The sun creates the
dynamism of the chain of
life. This is the reason
why ancient populations
adored the sun as the god
of cosmic order as
opposed to the god of
chaos or night, who
generated fear and the
necessity of defense.
This piece is a tribute
to the sun (Verso il
Sole) as an existential
symbol of life and
energy.
Sinds de
mensheid bestaat, hebben
mensen zich gerealiseerd
dat de warmte en het
licht van de zon nodig
waren voor de
ontwikkeling van het
leven op aarde. De zon
zorgt voor de dynamiek
van de cirkel van het
leven. Lorenzo Bocci
schreefdit werk als een
hulde aan de zon
(Verso il Sole) -
existentieel symbool van
leven en
energie.
Seit
Menschengedenken ist
bekannt, dass die
Wärme und das Licht
der Sonne notwendig
für alles Leben auf
der Erde ist. Sie bildet
den Antrieb des
Kreislaufs des Lebens.
Alte Völker verehrten
die Sonne als Gott der
Ordnung des Weltalls, als
Gegenspieler des Gottes
des Chaos und der Nacht.
Verso il Sole - an
die Sonne - ist ein
Tribut des italienischen
Komponisten Lorenzo Bocci
an die Sonne als das
existentielle Symbol des
Lebens und der Energie.
Lassen Sie die Sonne in
Ihr
Konzert!
Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For pi...(+)
Composed by Johann
Sebastian Bach
(1685-1750), edited by
Riemenschneider. For
piano. Format: piano solo
book. With piano
reduction, introductory
text, instructional text,
lyrics and performance
notes. Baroque. 184
pages. 9x12 inches.
Published by Schirmer
Voix basse, Piano [Partition + Accès audio] Boosey and Hawkes
The New Imperial Edition. By Various. Arranged by Sydney Northcote. (Bass). Boo...(+)
The New Imperial Edition.
By Various. Arranged by
Sydney Northcote.
(Bass). Boosey and Hawkes
Voice. Book only. Size
9x12 inches. 100 pages.
Published by Boosey and
Hawkes.
Palustrus Orchestre d'harmonie [Conducteur et Parties séparées] - Facile RWS Music Company
Grade 3 SKU: AP.98-RWS191400 Composed by N. A. Clark and Castro. Concert ...(+)
Grade 3
SKU:
AP.98-RWS191400
Composed by N. A. Clark
and Castro. Concert Band.
Score and set of parts.
Composed 2019. RWS Music
Company #RWS-1914-00.
Published by RWS Music
Company
(AP.98-RWS191400).
Palustrus, for
percussion ensemble and
band, is based on two
musical ideas. The first,
a figure of two 16th
notes, is introduced
alluding to tiny
seedlings as they sprout
from the fertile earth.
This figure quickly grows
in frequency and density,
then spreads into the
second idea using a
series of diatonic
patterns. Palustrus is a
medium-difficult, but
attainable technical
challenge in a diatonic
setting. Splashes of
dissonance in the winds
support the active and
exciting percussion
ensemble statements
throughout. Highly
recommended for programs
with a larger percussion
section!
Piano SKU: BR.EB-9333 I The sun, the sea - II The earth: her dance - I...(+)
Piano
SKU:
BR.EB-9333
I The
sun, the sea - II The
earth: her dance - III
Clouds, winds, skies.
Composed by Christian
Mason. Solo instruments;
stapled. Edition
Breitkopf.
World
premiere of the piano
version: Orleans (8th
Int. Piano Competition of
Orleans ,,Brin d'herbe),
April 14, 2019
New
music (post-2000); Music
post-1945. Score.
Composed 2018/19. 28
pages. Duration 17'.
Breitkopf and Haertel #EB
9333. Published by
Breitkopf and Haertel
(BR.EB-9333).
ISBN
9790004187975. 9 x 12
inches.
Inspiring
Nature These three piano
pieces, composed for the
,,Concours, Brin d'Herbe
2019, may be performed
separately or as a
collection, in which case
they should be played in
the given order. Though
each piece is aimed at a
different technical level
(I. Elementary, II.
Advanced, III.
Intermediate), they have
a common artistic aim: to
connect musical
expression with poetic
inspiration. In
particular, these pieces
meditate on the emotional
connection between our
interior life and the
vast and varied
landscapes of the natural
world all around us.
While composing I found
myself re-reading
Kathleen Raine (one of my
favourite poets) and was
struck by her statement
(in the foreword to her
,,Selected Poems):
,,'Nature-poetry' is not
what we write about
nature, but rather the
language of images in
which nature daily speaks
to us of the timeless,
age-old mystery in which
we participate. Nature
communicates today what
it told the earliest of
humankind, and what it
will tell future
generations when our
modern high-rise cities
are no more. Meanings,
moods, the whole scale of
our inner experience,
finds in nature the
'correspondences' through
which we may know our
boundless selves. Nature
is the common, universal
language, understood by
all. What she says about
nature resonates with my
understanding of music,
which also sometimes
affords us an opportunity
to know 'our boundless
selves'. And I am
especially interested in
the way that sounds -
which, as vibrations in
the air, are another
aspect of nature - can
reveal and heighten our
sense of connectedness to
ourselves and our
surroundings. Each
movement is inspired by a
single stanza from the
poem ,,Amo Ergo Sum by
Kathleen Raine, and I
would encourage anyone
playing these pieces to
devote time to
internalising the words
as well as the music, for
they may contain the key
to an accurate
expression. As such, the
relevant words are quoted
at the start of each
score. ,,Inner Landscapes
is dedicated to Joe
Browning, Lexy Oliver and
Omar Shahryar. (Christian
Mason, 2018)
World
premiere of the piano
version: Orleans (8th
Int. Piano Competition of
Orleans ,,Brin d'herbe),
April 14, 2019.
Piano, Voix [Partition] - Facile Alfred Publishing
Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. For voice and pi...(+)
Written by Amanda Vick
Lethco, Morton Manus,
Willard A. Palmer. For
voice and piano. Includes
piano/vocal songbook and
instructional book. With
vocal melody, lyrics and
introductory text.
Instructional and hymn.
48 pages. 9x12 inches.
Published by Alfred.
Helios Rising Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Alfred Publishing
Composed by Todd Stalter. Concert Band; Performance Music Ensemble; Single Title...(+)
Composed by Todd Stalter.
Concert Band; Performance
Music Ensemble; Single
Titles. Challenger Band
Series. Part(s); Score.
202 pages. Duration 2:45.
Alfred Music #00-44976.
Published by Alfred Music
(AP.44976).
For voice and guitar. Format: fakebook. With vocal melody, lyrics, guitar tablat...(+)
For voice and guitar.
Format: fakebook. With
vocal melody, lyrics,
guitar tablature, chord
names, guitar chord
diagrams and strum and
pick patterns. Christmas
and holiday. Series: Hal
Leonard Fake Books. 189
pages. 9x12 inches.
Published by Hal Leonard.
Helios Rising Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
Composed by Todd Stalter. Concert Band; Performance Music Ensemble; Single Title...(+)
Composed by Todd Stalter.
Concert Band; Performance
Music Ensemble; Single
Titles. Challenger Band
Series. Score. 8 pages.
Duration 2:45. Alfred
Music #00-44976S.
Published by Alfred Music
(AP.44976S).
Composed by Robert A. Hobby (1962-). For SATB choir, organ or chamber orchestra....(+)
Composed by Robert A.
Hobby (1962-). For SATB
choir, organ or chamber
orchestra. Catholic Year
C Epiphany of the Lord.
Epiphany. Moderately
Easy. Choral score.
Published by MorningStar
Music Publishers
Composed
by Hinse Mutter.
Woodwinds - Saxophone.
Periferia Publishing
#SQ3667PM. Published by
Periferia Publishing
(AY.SQ3667PM).
ISBN
9790543578203.
Ad
terra was first performed
in November 2017 at the
Grachtenfestival
(Amsterdam, Netherlands)
by the Keuris Quartet, in
a joint commission by the
Grachtenfestival and
Gaudeamus Muziekweek. Ad
terra imagines the
creation in the sun of
individual photons and
the sometimes thousands
of years long struggle
they have: bouncing
around on their way from
the core of the sun to
the outer layers before
finally being released
and flying towards
Earth.
Alto, Mixed choir (SATB), Piano SKU: BA.BA11309 Composed by Camille Saint...(+)
Alto, Mixed choir (SATB),
Piano
SKU:
BA.BA11309
Composed
by Camille Saint-Saens.
Edited by Christina M.
Stahl. This edition:
urtext edition.
Paperback. Score.
Baerenreiter Verlag
#BA11309. Published by
Baerenreiter Verlag
(BA.BA11309).
ISBN
9790006577705. 27 x 19 cm
inches. Text Language:
English.
It is a
small music history
sensation: Thanks to Yves
Grard an unknown and
unpublished manuscript
penned by Camille
Saint-Saëns has been
unearthed in the
Mdiathèque Jean Renoir
in Dieppe in
France.
It is the
top four instrumental
parts which make this
manuscript something of a
sensation. Placed under
each other are
â??Saxophone Soprano en
Si bâ?, â??Saxophone
Alto en Mi bâ?,
â??Saxophone Tnor en Si
bâ? and â??Saxophone
Baryton en Mi bâ?,
strings, soprano solo
with chorus and organ.
Musical history has
hitherto credited
Jean-Baptiste Singele
(1812â??1875) with
having written the first
saxophone quartet, his
opus 53, which he
completed in 1857. Now
this historiography
clearly has to be
revised. The date 1854
has been found under the
first page of the
treasure from Dieppe,
which is pasted over and
also sewn, meaning that
Saint-Saënsâ?? work
was written three years
earlier than that of
Singele.
In
contrast to Singele,
Saint-Saëns does not
have the wind instruments
taking solo parts but
rather uses their tonal
colour to depict textual
moods and nuances. On the
one hand the saxophones
accompany the choral
parts (certainly singable
by amateurs) and support
the human voices in fugal
passages. On the other
hand, they take the
melody in the purely
orchestral
passages.
Saint-Sa
ëns wrote the motet in
the period when he had
taken up his first
permanent appointment as
organist at the Church of
Saint-Merri in Paris. He
revised the work several
times over the decades,
changing the motifs at
the beginning, correcting
obvious mistakes,
reworking the ending,
eventually changing the
instrumentation several
times and even â??
probably in the final
stage â?? replacing the
Latin text with an
English one. Today,
three-and-a-half versions
have been handed down,
one of them stopping
after just a few pages.
The compositional steps
have been successfully
reconstructed by means of
detailed detective work.
Furthermore, the first
saxophone version (BA
11305) and the last
English piano version (BA
11309) have been edited
to produce a
scholarly-critical
edition.
The
present edition of the
English version for
soprano solo, choir and
piano (BA 11309) serves
both as a full score and
as a vocal score due to
the
instrumentation.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
(Grade 3 - Score Only). By Philip Sparke (1951-). For Concert Band. Anglo Music ...(+)
(Grade 3 - Score Only).
By Philip Sparke (1951-).
For Concert Band. Anglo
Music Concert Band. Grade
3. 16 pages. Anglo Music
Press #AMP337040.
Published by Anglo Music
Press
Harmonium Voix Soprano, Piano [Vocal Score] Theodore Presser Co.
Song Cycle for Soprano and Piano. By Vincent Persichetti. Text: Wallace Stevens....(+)
Song Cycle for Soprano
and Piano. By Vincent
Persichetti. Text:
Wallace Stevens. For
Piano, Soprano.
Piano/Vocal Score. 105
pages. Published by
Theodore Presser Company.
Trumpet & Piano - intermediate SKU: ST.H490 Composed by R. Orlando Morgan...(+)
Trumpet & Piano -
intermediate
SKU:
ST.H490
Composed by
R. Orlando Morgan. Wind &
brass music. Standard:
Intermediate. Score and
part. Stainer & Bell Ltd.
#H490. Published by
Stainer & Bell Ltd.
(ST.H490).
ISBN
9790220224768.
Ther
e is a dearth of short,
romantic trumpet pieces
of intermediate grade
that challenge and
inspire players who
already feel secure both
in their technique and
powers of interpretation.
The reissue of Legend by
R. Orlando Morgan
(1865-1956) will
therefore be greatly
welcomed, as music
enriched by the
passionate harmonies of
Tchaikovsky and even of
Wagner, in an idiom that
is graceful and sure.
Though largely forgotten,
the composer was one of
many whose artful command
of classical styles
earned them respect in
their lifetimes, neglect
thereafter on account of
changing fashions and
now, with yet another
swing of the pendulum of
taste, the chance for
re-evaluation today.
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.
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.
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.