By The Presidents Own United States Marine Band. By Various. For concert band....(+)
By The Presidents Own
United States Marine
Band. By Various. For
concert band. Mark
Masters. Classical. Audio
CD. Duration 51:35.
Published by Mark Custom
Music
For Guitar. Classical (chamber). Includes a high-quality printed music score wit...(+)
For Guitar. Classical
(chamber). Includes a
high-quality printed
music score with both
primo and secondo guitar
parts; and a compact disc
containing a complete
performance with secondo
guitar on the left
channel, and primo guitar
on the right channel.
Either can be easily
removed for your
performance pleasure.
Published by Music Minus
One.
(0.3.0.1/0.3.0.0,timp,cem ,str) SKU: TM.05066SET Composed by Johann Sebas...(+)
(0.3.0.1/0.3.0.0,timp,cem
,str)
SKU:
TM.05066SET
Composed
by Johann Sebastian Bach.
Set Type: D. Set of
parts. Lucks Music
Library #A1219. Published
by Lucks Music Library
(TM.05066SET).
Ballet.
Overture, Serenade,
Dialogue en Musique,
Ballet, Menuet Chante,
1st Air des Garcons
Tailleurs, 2nd Air de
Garcons, Final du Act
III, Air a Boibe, Marche
& 1st Entree de Ballet
(Ceremonie turque) , Air
de Muphti, Entree du
Ballet, Entree de Ballet,
Air de Danse.
Composed by Johann
Sebastian Bach. Edited by
Werner Neumann. This
edition: complete
edition, urtext edition.
Linen. New Bach Edition
(NBA) I/37. Complete
edition, Score,
anthology. Baerenreiter
Verlag #BA05018_01.
Published by Baerenreiter
Verlag (BA.BA05018-01).
ISBN 9790006461776. 33
x 26 cm
inches.
Urtext der
Neuen Mozart-Ausgabe.
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
Edited by Helen Marlais. Collection and accompaniment CD for piano. The FJH pian...(+)
Edited by Helen Marlais.
Collection and
accompaniment CD for
piano. The FJH pianist's
curriculum. Series: In
Recital with Classical
Themes. 55 pages.
Published by The FJH
Music Company.
(2.2.0.2/0.0.0.0,(perc),s tr) SKU: TM.04242SET Composed by Jean-Baptiste ...(+)
(2.2.0.2/0.0.0.0,(perc),s
tr)
SKU:
TM.04242SET
Composed
by Jean-Baptiste Lully.
Arranged by Wecherlin.
Set Type: D. Set of
parts. Lucks Music
Library #A4242. Published
by Lucks Music Library
(TM.04242SET).
Ballet.
Overture, Serenade,
Dialogue en Musique,
Ballet, Menuet Chante,
1st Air des Garcons
Tailleurs, 2nd Air de
Garcons, Final du Act
III, Air a Boibe, Marche
& 1st Entree de Ballet
(Ceremonie turque) , Air
de Muphti, Entree du
Ballet, Entree de Ballet,
Air de Danse. Perc = Ad
lib Bass Drum/Cymbals in
the 9th movement.
(Leichte Bearbeitungen fur 2 Violinen und Violoncello). Composed by Ursula Erhar...(+)
(Leichte Bearbeitungen
fur 2 Violinen und
Violoncello). Composed by
Ursula
Erhart-Schwertmann.
Arranged by Ursula
Erhart-Schwertmann. For 2
violins and cello. String
music. Chamber music.
Score and set of parts.
Published by Doblinger
Music Publishers
Harp SKU: UT.MAG-221 Composed by Martin-Pierre Dalvimare. Edited by Anna ...(+)
Harp
SKU:
UT.MAG-221
Composed
by Martin-Pierre
Dalvimare. Edited by Anna
Pasetti. Saddle
stitching. Magadis.
Classical. Ut Orpheus
#MAG 221. Published by Ut
Orpheus (UT.MAG-221).
ISBN 9790215318625. 9
x 12
inches.
Martin-Pier
re Dalvimare, born in
1770, in Dreux
(Eure-et-Loir), from a
distinguished family,
learnt music as an
entertainment art, and
was obliged to make it a
resource for his
existence, after the
troubles of the
Revolution in 1789. He
had acquired a remarkable
talent for the harp; when
he arrived in Paris he
made a very good
impression. Then, man of
the world, knowledgeable
in many fields, which is
rare for a musician, he
was welcome everywhere,
and very soon came in
friendly terms with some
of the most renowned
artists and men of
letters of his times. The
marriage certificate of
the poet Legouve (15
pluviose of the year XI,
or February 1803, 12th
municipality of Paris),
shows that Dalvimare was
one of his best men and
that at the time he was
thirty-two years old. He
became harpist of the
Opera in the year VIII
(1800), and was
definitively confirmed in
the month of fructidor of
the year IX. At the time
of the institution of the
emperor Napoleon's
private music, M.
Dalvimare was appointed
as his harpist. In
September 1807 he
obtained the title of
harp master of the
empress Josephine. A
lucky change of his
fortune allowed this
artist to renounce to
practise his talent for
living, he resigned from
all of his positions on
March, 12th, 1812, and he
retired in Dreux, where
he still was living in
1837. For a peculiar
weakness, he does not
like to speak about his
artist career, which had
been entirely honourable,
and he would like to
forget his success too.
His first composition was
a symphonie concertant
for harp and horn, which
he composed with Frederic
Duvernoy, and published
in the year VII (1798);
notwithstanding, he
counted as his first opus
a collection of romances
with accompaniment of
piano or harp, which he
later published with
Pleyel.
In 1809
Dalvimare composed, for
the theatre Feydeau, a
one-act opera-comique
called The Marriage for
Imprudence. The music was
weak; the work did not
succeed, and people used
to say that the greatest
imprudence had been the
one of the authors who
had it performed.
Nevertheless, the score
of this opera was
published in Paris by
erard. (Francois-Joseph
Fetis).
For Wind Quintet. By Franz Joseph Haydn. Edited by Friedrich Gabler. Chamber Mus...(+)
For Wind Quintet. By
Franz Joseph Haydn.
Edited by Friedrich
Gabler. Chamber Music
(Winds). For flute, oboe,
clarinet, horn, bassoon.
Part. 05 pages. Published
by Doblinger (Austrian
import).
47 Pieces for Recorder Consort. By Various Composers. Arranged by Steve Rosenber...(+)
47 Pieces for Recorder
Consort. By Various
Composers. Arranged by
Steve Rosenberg.
(Recorder). Boosey and
Hawkes Chamber Music.
Size 8.5x11 inches. 50
pages. Published by
Boosey & Hawkes.
Piano seul [Partition + CD] - Intermédiaire Alfred Publishing
Edited by Jane Magrath. For solo piano. Piano Collection. Alfred Masterwork Edit...(+)
Edited by Jane Magrath.
For solo piano. Piano
Collection. Alfred
Masterwork Edition.
Instructional. SMP Level
4 (Intermediate).
Collection and examples
CD. Standard notation,
fingerings and
introductory text (does
not include words to the
songs). 48 pages.
Published by Alfred Music
Publishing
By Various. Edited by Meuser, Michael / Berning, Thomas / Kohlmann, Mathias / De...(+)
By Various. Edited by
Meuser, Michael /
Berning, Thomas /
Kohlmann, Mathias /
Degott, Matthias / Kolle,
Martin / Walter, Meinrad
/ Geismann, Wilm.
Occasions: Eucharist,
Communion, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Mourning,
Death; Use during church
year: Advent, Lent and
Passiontide, Easter and
Eastertide, Christmas.
Collection. 224 pages.
Published by Carus Verlag
(German import).
Viking Age Ensemble de cuivres - Intermédiaire De Haske Publications
Brass Band - Grade 3.5 SKU: BT.DHP-1175800-130 Composed by Thierry Deleru...(+)
Brass Band - Grade 3.5
SKU:
BT.DHP-1175800-130
Composed by Thierry
Deleruyelle. Concert and
Contest Collection Brass
Band en Fanfare. Concert
Piece. Score Only.
Composed 2017. 43 pages.
De Haske Publications
#DHP 1175800-130.
Published by De Haske
Publications
(BT.DHP-1175800-130).
English-German-French-
Dutch.
The Viking
age lasted from the late
eighth, to the middle of
the eleventh century.
During this period,
Scandinavian warriors and
merchants explored,
plundered and left their
mark on numerous
territories. This work is
based on a series of four
notes that appear in
different forms,
consisting of 4
movements: Northern
Men, Explorer,
Raids and
Heritage. It is an
impressive and
spectacular piece, with
lots of interesting and
playful parts for all
sections. This is a
perfect contest piece or
an outstanding work for
thematic
concerts.
Het
tijdperk van de Vikingen
duurde van het eind van
de achtste tot het midden
van de elfde eeuw. In
deze periode verkenden en
plunderden Scandinavische
strijders en kooplieden
verschillende gebieden,
waarmee ze hun stempel op
de geschiedenis drukten.
Dit werk is gebaseerd op
een reeks van vier noten
en het bestaat uit vier
delen die elkaar naadloos
opvolgen: Northern
Men, Explorer,
Raids en
Heritage. Het is
een indrukwekkende,
spectaculaire compositie
met veel boeiende en
speelse partijen voor
alle secties. Het is een
perfect wedstrijdwerk ;
ook is het heel geschikt
voor een thematisch
concert.
Das
Zeitalter der Wikinger
dauerte vom Ende des 8.
Jahrhunderts bis zur
Mitte des 11.
Jahrhunderts. Während
dieser Zeit haben die
Wikinger, skandinavische
Krieger und Händler,
zahlreiche Gebiete
erforscht, geplündert
und ihre Spuren dort
hinterlassen. Das Werk
basiert auf einer Folge
von vier Noten, die in
unterschiedlichen Formen
verwendet werden, und
besteht aus vier
Sätzen: Northern
Men, Explorer,
Raids und
Heritage. Es ist
ein beeindruckendes und
fantastisches Stück
mit zahlreichen
interessanten und
verspielten Passagen
für alle
Instrumentengruppen. Es
eignet sich bestens als
Wettbewerbsstück oder
als ein hervorragendes
Werk für
thematischeKonzerte.
Viking Age Ensemble de cuivres - Intermédiaire De Haske Publications
Brass Band - Grade 3.5 SKU: BT.DHP-1175800-030 Composed by Thierry Deleru...(+)
Brass Band - Grade 3.5
SKU:
BT.DHP-1175800-030
Composed by Thierry
Deleruyelle. Concert and
Contest Collection Brass
Band en Fanfare. Concert
Piece. Set (Score &
Parts). Composed 2017. De
Haske Publications #DHP
1175800-030. Published by
De Haske Publications
(BT.DHP-1175800-030).
English-German-French-
Dutch.
The Viking
age lasted from the late
eighth, to the middle of
the eleventh century.
During this period,
Scandinavian warriors and
merchants explored,
plundered and left their
mark on numerous
territories. This work is
based on a series of four
notes that appear in
different forms,
consisting of 4
movements: Northern
Men, Explorer,
Raids and
Heritage. It is an
impressive and
spectacular piece, with
lots of interesting and
playful parts for all
sections. This is a
perfect contest piece or
an outstanding work for
thematic
concerts.
Het
tijdperk van de Vikingen
duurde van het eind van
de achtste tot het midden
van de elfde eeuw. In
deze periode verkenden en
plunderden Scandinavische
strijders en kooplieden
verschillende gebieden,
waarmee ze hun stempel op
de geschiedenis drukten.
Dit werk is gebaseerd op
een reeks van vier noten
en het bestaat uit vier
delen die elkaar naadloos
opvolgen: Northern
Men, Explorer,
Raids en
Heritage. Het is
een indrukwekkende,
spectaculaire compositie
met veel boeiende en
speelse partijen voor
alle secties. Het is een
perfect wedstrijdwerk ;
ook is het heel geschikt
voor een thematisch
concert.
Das
Zeitalter der Wikinger
dauerte vom Ende des 8.
Jahrhunderts bis zur
Mitte des 11.
Jahrhunderts. Während
dieser Zeit haben die
Wikinger, skandinavische
Krieger und Händler,
zahlreiche Gebiete
erforscht, geplündert
und ihre Spuren dort
hinterlassen. Das Werk
basiert auf einer Folge
von vier Noten, die in
unterschiedlichen Formen
verwendet werden, und
besteht aus vier
Sätzen: Northern
Men, Explorer,
Raids und
Heritage. Es ist
ein beeindruckendes und
fantastisches Stück
mit zahlreichen
interessanten und
verspielten Passagen
für alle
Instrumentengruppen. Es
eignet sich bestens als
Wettbewerbsstück oder
als ein hervorragendes
Werk für
thematischeKonzerte.
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.