For the Opera 'Leonore' (1807) Study Score. Composed by Ludwig van Beethoven ...(+)
For the Opera 'Leonore'
(1807) Study Score.
Composed
by Ludwig van Beethoven
(1770-1827). Edited by
Helga
Luhning. Henle Study
Scores.
Classical, Opera.
Softcover.
56 pages. G. Henle
#HN9045.
Published by G. Henle
Composed by John Ireland.
Band Music. Score and
parts. Duration 10:30.
Published by G & M Brand
Music Publishers
(CN.R10004).
A
slow introduction gives
way to the chirpy theme
which is developed,
inverted, and accents
displaced across the bar
line to give a 3/2 feel
against the written
meter. Restlessness leads
to a tranquillo presented
by the flute and
clarinet, weaving a
flowing counterpoint
around the melody until
the original slow
introduction returns. A
triumphant recapitulation
of the main theme brings
this wonderful piece to
an end.
Originally
composed for Brass Band
in 1934 Comedy Overture
is, despite its name, a
serious piece of writing.
The term Overture does
not imply that there is
anything else to follow;
it is used in the 19th
century sense of Concert
Overture (like
Mendelssohn's Fingal's
Cave - in other words, a
miniature Tone Poem). The
1930's was a period of
Ireland's mature writing
- yielding the Piano
Concerto (1930), the
Legend for piano and
orchestra (1933), and the
choral work These Things
Shall Be (1936-1937). We
are fortunate therefore
to have both Comedy
Overture and A Downland
Suite (1932) written for
band medium at this time.
As with Maritime Overture
(written in 1944 for
military band) Ireland
approaches his material
symphonically. The
opening three notes state
immediately the two
seminal intervals of a
semitone and a third.
These are brooding and
dark in Bb minor. It is
these intervals which
make up much of the
thematic content of
Comedy, sometimes
appearing in inverted
form, and sometimes in
major forms as well. The
concept that some musical
intervals are consonant ,
some dissonant, and some
perfect is perhaps useful
in understanding the
nature of the tension and
resolution of this work.
The third is inherently
unstable, and by bar 4,
the interval is expanded
to a fourth - with an
ascending sem-quaver
triplet - and then
expanded to a fifth. The
instability of the third
pushes it towards a
perfect resolution in the
fourth or the fifth. The
slow introduction is
built entirely around
these intervals in Bb
minor and leads through
an oboe cadenza, to an
Allegro moderato
brillante in Bb major.
Once again, the semi-tone
(inverted) and a third
(major) comprise the
main, chirpy,
theme-inspired by a
London bus-conductor's
cry of Piccadilly. (Much
of the material in Comedy
was re-conceived by
Ireland for orchestra and
published two years later
under the title A London
Overture.) The expansion
of the interval of a
third through a fourth,
fifth, sixth, and seventh
now takes place quickly
before our very ears at
the outset of this
quicker section.
Immediately the theme is
developed, inverted, and
accents displaced across
the bar line to give a
3/2 feel against the
written meter. But this
restlessness leads to a
tranquillo built around
an arpeggio figure and
presented by flute and
clarinet. Ireland weaves
his flowing counterpoint
around this melody until
the original slow
introduction returns
leading to a stretto
effect as the rising bass
motifs become more
urgent, requesting a
resolution of the tension
of that original semitone
and minor third. Yet
resolution is withheld at
this point as the music
becomes almost becalmed
in a further, unrelated
tranquillo section marked
pianissimo. It is almost
as if another side of
Ireland's nature is
briefly allowed to shine
through the stern
counterpoint and
disciplined structure.
This leads to virtually a
full recapitulation of
the chirpy brilliante,
with small additional
touches of counterpoint,
followed by the first
tranquillo section-this
time in the tonic of Bb
major. But the
instability of the third
re-asserts itself, this
time demanding a
resolution. And a
triumphant resolution it
receives, for it finally
becomes fully fledged and
reiterates the octave in
a closing vivace. The
opening tension has at
last resolved itself into
the most perfect interval
of all.
(Cello and Piano). Composed by Edward Gregson. For Cello, Piano Accompaniment. M...(+)
(Cello and Piano).
Composed by Edward
Gregson. For Cello, Piano
Accompaniment. Music
Sales America. 52 pages.
Novello and Co Ltd.
#NOV958089. Published by
Novello and Co Ltd.
Still, Still, Still Orchestre à Cordes [Conducteur et Parties séparées] - Facile Grand Mesa Music
Edited by J. Cameron Law. Arranged by Randall D. Strandridge. For string o...(+)
Edited by J. Cameron Law.
Arranged by Randall D.
Strandridge. For string
orchestra. Grade 2+.
Score and
set of parts. Duration 2
minutes, 30 seconds.
Published
by Grand Mesa Music
Composed by Brian Balmages. For string orchestra. FJH String Orchestra. Grade 3....(+)
Composed by Brian
Balmages. For string
orchestra. FJH String
Orchestra. Grade 3. Score
and parts. Duration 4
minutes, 30 seconds.
Published by The FJH
Music Company Inc
Resolution Orchestre à Cordes [Conducteur] - Débutant Carl Fischer
(For Beginning String Orchestra). By Sean O'Loughlin. String orchestra. For Stri...(+)
(For Beginning String
Orchestra). By Sean
O'Loughlin. String
orchestra. For String
Orchestra. This edition:
full score. Carl Fischer
Beginning String
Orchestra Series.
Classical. Grade 1. Full
Score. Standard notation.
8 pages. Published by
Carl Fischer (. Full
Score. classical.
Resolution Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
By Sean O'Loughlin. String ensemble. For String Orchestra. Carl Fischer Beginnin...(+)
By Sean O'Loughlin.
String ensemble. For
String Orchestra. Carl
Fischer Beginning String
Orchestra Series. Grade
1. Score and Parts.
Standard notation. 8
pages. Published by Carl
Fischer
Composed by Bill Calhoun. For string orchestra (violin I, violin II, violin ...(+)
Composed by Bill Calhoun.
For
string orchestra (violin
I,
violin II, violin III
(viola
T.C.), viola, cello,
bass,
piano). Score and parts.
Duration 2 minutes, 11
seconds. Published by
Carl
Fischer
For Flute and Piano. Composed by Gary Schocker. Solo part with piano reduction. ...(+)
For Flute and Piano.
Composed by Gary
Schocker. Solo part with
piano reduction. With
Standard notation. 28
pages. Duration 8
minutes, 30 seconds.
Theodore Presser Company
#114-40487. Published by
Theodore Presser Company
SKU: GI.G-10494 Composed by Sandy Goldie. Music Education. 104 pages. GIA...(+)
SKU: GI.G-10494
Composed by Sandy Goldie.
Music Education. 104
pages. GIA Publications
#10494. Published by GIA
Publications
(GI.G-10494).
ISBN
9781574635195.
This
book contains collective
insights from some of the
most inspirational high
school orchestra
directors in the United
States. They reveal their
ideas on rehearsal
philosophy, rehearsal
preparation, warm-up
strategies, favorite
repertoire, tone/bow
control, intonation,
articulation, expression,
online instruction,
recruiting and building
community. Each of their
stories is as unique as
the individual strategies
and approaches they
share. You will surely be
inspired by their ideas,
approaches, and
strategies presented in
Rehearsing the High
School Orchestra. I know
the most joy in my life
has come from my violin.
(Albert Einstein)
—Gail Barnes,
University of South
Carolina, Columbia, South
Carolina Success is not
final, failure is not
fatal, it is the courage
to continue that counts.
(Winston Churchill)
—David Eccles, The
Lovett School, Atlanta,
Georgia I want every
student who comes through
my door to enjoy and see
the value of music.
—Creston Herron,
Klein High School, Klein,
Texas Without music, life
would be a mistake.
(Friedrich Nietzsche)
—Cathie Hudnall,
Norcross High School,
Norcross, Georgia To make
a resolution and act
accordingly is to live
with hope. There may be
difficulties and
hardships, but not
disappointment or despair
if you follow the path
steadily. Do not rest in
your efforts, without
stopping, without haste,
carefully taking a step
at a time forward will
surely get you there.
(Shinichi Suzuki)
—Scott Laird,
North Carolina School of
Science and Mathematics,
Durham, North Carolina
Orchestra class teaches
so much more than how to
play a stringed
instrument. We learn
valuable life skills in
‘O.R.C.H.E.S.T.R.A
€™â€”Opportunit
y, Responsibility,
Concentration, Honesty,
Effort, Self-Discipline,
Trust, Respect, and
Attitude. —Charles
Laux, Alpharetta High
School, Alpharetta,
Georgia I teach
excellence and the
commitment it takes to be
excellent. Music is the
discipline that I use to
teach this. While music
is a beautiful artform,
the subject matter is
never more important than
the subject itself.
—Kirt Mosier,
Youth Symphony of Kansas
City, Kansas City,
Missouri You are the
music while the music
lasts. (T. S. Eliot)
—Kirk Moss,
University of
Northwestern—St.
Paul, Roseville,
Minnesota The job of
teaching is less about
feeding information to
students, and more about
making them hungry.
—Christopher
Selby, School of the
Arts, Charleston, South
Carolina High achievement
always takes place within
the framework of high
expectations. (Charles
Kettering) —Laura
Mulligan Thomas,
Charlottesville High
School, Charlottesville,
Virginia.
(The Drummer's Guide to the Genre and the Legends Who Defined It). By Rich Lacko...(+)
(The Drummer's Guide to
the Genre and the Legends
Who Defined It). By Rich
Lackowski and John
O'Reilly, Jr.. For
Drumset.
Artist/Personality; Book;
CD; Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path. Jazz.
108 pages. Published by
Alfred Music Publishing
A Love Supreme Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Recorded by the Lincoln Center Jazz Orchestra. Arranged by Wynton Marsali...(+)
Recorded by the
Lincoln Center Jazz
Orchestra. Arranged
by Wynton Marsalis. Jazz,
Swing. Score and parts.
Published by Jazz Lines
Publications
(JL.JLP-7420).
Ollie and Me Flûte traversière et Piano [Reduction] Theodore Presser Co.
For Flute and Piano. Composed by Gary Schocker. Solo part with piano redu...(+)
For Flute and
Piano. Composed by
Gary Schocker. Solo part
with piano reduction.
With Standard notation.
10 pages. Duration 4
minutes. Theodore Presser
Company #114-41363.
Published by Theodore
Presser Company
(PR.114413630).
(Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - ...(+)
(Soli SAATBB, Coro SATB
(auch SSAATB), 2 Bfl, 2
Ob, 2 Tr, Timp, 2 Vl, Va,
Bc) - Grade 3
SKU:
CA.1025009
Composed
by Henry Purcell. Edited
by Julia Rosemeyer. Set
of Orchestra Parts.
Composed 1692. Z 328.
Duration 55 minutes.
Carus Verlag #1025009.
Published by Carus Verlag
(CA.1025009).
ISBN
9790007329815. Key: D
major.
English.
âHail
! bright Cecilia, hail to
thee. Great patroness of
us and harmony!â
â this exclamation
opens the final chorus of
Henry Purcellâs
eponymous Ode to St.
Cecilia from 1692. A
paean to the power of
music, the work is one of
the undoubted
masterpieces of English
choral odes of that time.
A resolution of
the Musical Society of
London in 1683 launched
the great tradition of
annual celebrations for
St. Ceciliaâs Day
(November 22), featuring
a church service followed
by performances of
specially composed music.
Over the years, Purcell
wrote several odes for
the occasion, of which
this example from 1692 is
one of the most popular.
Four decades later,
Handel would also
contribute to the
celebrations with his
Alexanderâs Feast,
HWV 75 (Carus 55.075),
and his Ode for St.
Ceciliaâs Day, HWV
76 (Carus
55.076).
Purcellâ
s magnificent music,
which features a huge
range of tonal color and
form, offers delightful
parts for a variety of
solo, ensemble, and
choral settings. With its
richly expressive
palette, the Ode to St.
Cecilia is an extremely
rewarding work by the
âOrpheus
Britannicusâ, as
Purcell was admiringly
called by
contemporaries.
-
Festive, rousing ode to
music - Highlight of
the choral ode genre in
the 17th century .
Score and parts available
separately - see item
CA.1025000.
Harpsichord SKU: OT.21125 Composed by Daniel Akiva. 5 short pieces for ha...(+)
Harpsichord
SKU:
OT.21125
Composed by
Daniel Akiva. 5 short
pieces for
harpsichord/cembalo.
Classical. Score. OR-TAV
Music Publications
#21125. Published by
OR-TAV Music Publications
(OT.21125).
ISBN
9789655051117. 8.27 x
11.69 inches.
The
five short movements for
solo cembalo are brief,
personal prayers that
depict how the subject
manages a range of
feelings and emotions.
The miniatures each
represent a different
emotional state:
reflection, searching,
meditation, agitation,
and resolution. Each is a
small-scale
representation of a
grand, wide-ranging
prayer of
supplication. As a
composer, performer, and
researcher of early
music, writing for
cembalo allows me not
only to express my
special connection to the
instrument and the period
in which it flourished,
but also to present its
contemporary dimensions
as a rich and versatile
instrument. The
piece was composed at the
request of Hagai Yodan,
who performs it with
great skill. Daniel
Akiva is a composer,
performer, and educator
whose performances on
guitar and lute have won
great acclaim. Mr. Akiva
graduated from the Rubin
Academy of Music in
Jerusalem in 1981, where
he studied classical
guitar with Haim Asulin
and composition with Haim
Alexander. In 1987 he
completed his studies at
the Geneva Conservatorium
in Switzerland where he
studied lute with
Jonathon Rubin and
composition with Jean
Ballisa. For many years,
he headed the Music
Department at the WIZO
High School for the Arts
in Haifa, which he
founded in 1986, and
served as the Artistic
Director of the Guitar
Gems Festival from
2006-2019. As part of his
work at WIZO High School,
he has developed a method
for teaching free
improvisation that has
been incorporated into
the music program at the
school. Mr. Akiva has
appeared in concert as a
guitarist and lutist and
given master classes in
Israel, Europe, Russia,
the United States, and
Latin America. Daniel
Akiva’s
compositional output
includes works for solo
instruments, chamber
ensembles, choir, voice
and guitar, piano, and
chamber orchestra. His
works have been recorded
on twelve CDs, the latest
of which, Malchut, was
issued by OR-TAV in
2014. A native of
Haifa whose family has
lived in Israel for over
five hundred years, he
was steeped in the
Sephardic
(Jewish-Spanish)
tradition from his youth.
Much of his compositional
output has been devoted
to a dialogue with the
music of the Sephardic
Jews. Daniel Akiva has
also maintained a
creative dialogue over
many years with the poets
and writers Amnon
Shamash, Rivka Miriam,
and Avner Peretz.
Score Only.
Composed by Brian
Balmages. Series; String
Orchestra. FJH String
Orchestra. Score.
Duration 4:30. The FJH
Music Company Inc
#98-ST6346S. Published by
The FJH Music Company Inc
(FJ.ST6346S).
English.
Explori
ng mature harmonies while
a single note lingers
throughout the entire
work, this powerful piece
will leave you
breathless. Orchestrated
for strings and piano,
the music moves through a
series of sections that
become increasingly
intense, all while the
note G sounds nonstop
from the first measure
until the final chord.
The haunting sound of
voices (members of the
ensemble) eventually fade
into a soft hum before
the music reaches is
final chord and ultimate
resolution. Simply
stunning.
About FJH
String
Orchestra
More emphasis on bow
technique and
independence of lines.
For the accomplished
middle, high school,
college, or professional
group. Grade 3 and up
Moonlight Shadows Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS1 Composed by Sean O'...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS1
Composed by Sean
O'Loughlin. Carl Fischer
Young String Orchestra
Series. Classical. Score
and Parts. With Standard
notation. 8+8+5+2+5+5+2+8
pages. Carl Fischer Music
#YAS1. Published by Carl
Fischer Music (CF.YAS1).
ISBN 9780825840630.
UPC: 798408040635. 8.5 X
11 inches. Key: G
major.
Moonlight
Shadows is a passionate
and colorful piece for
strings that explores the
expressive power of the
string orchestra. Sean
O'Loughlin uses a lush
harmonic palette and
variety of texture
(including a short
pizzicato section), to
create an important and
soulful addition to the
repertoire for younger
string ensembles.
Duration:
2'30. Moonlight
Shadows is a work for
string orchestra that
reflects my great love
for the music of Samuel
Barber. His compositions
from the 1930s and 1940s
were characterized by
plush harmonies, flowing
melodies and engaging
suspensions. These
elements are what I
focused on in the
composition
of Moonlight
Shadows.The material
represents my mood and
feelings when I look at a
big, bright moon. The
shadows it casts create
an eerie feeling, while
at the same time
providing a deep, rich
tapestry for the earth at
night.The harmony
features many major
seventh-chords with
half-step suspensions.
These suspensions
function as common tones
to the next chord and
create the tension of the
piece. They also move, in
order to provide
resolution to the piece
which allows the listener
to rest. With this in
mind, these suspensions
should be brought out
during
performance.Moonlight
Shadows is an emotional
piece that allows the
young musician the
opportunity to play with
much expression.
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
Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc - Gr...(+)
Soli SAATBB, Coro SATB
(auch SSAATB), 2 Bfl, 2
Ob, 2 Tr, Timp, 2 Vl, Va,
Bc - Grade 3
SKU:
CA.1025000
Composed
by Henry Purcell. Edited
by Julia Rosemeyer. Carus
digital: Extra digital
products. Full Score.
Composed 1692. Z 328.
Duration 55 minutes.
Carus Verlag #1025000.
Published by Carus Verlag
(CA.1025000).
ISBN
9790007251826. Key: D
major.
English.
â??Hail!
bright Cecilia, hail to
thee. Great patroness of
us and harmony!â? â??
this exclamation opens
the final chorus of Henry
Purcellâ??s eponymous
Ode to St. Cecilia from
1692. A paean to the
power of music, the work
is one of the undoubted
masterpieces of English
choral odes of that time.
A resolution of
the Musical Society of
London in 1683 launched
the great tradition of
annual celebrations for
St. Ceciliaâ??s Day
(November 22), featuring
a church service followed
by performances of
specially composed music.
Over the years, Purcell
wrote several odes for
the occasion, of which
this example from 1692 is
one of the most popular.
Four decades later,
Handel would also
contribute to the
celebrations with his
Alexanderâ??s Feast, HWV
75 (Carus 55.075), and
his Ode for St.
Ceciliaâ??s Day, HWV 76
(Carus
55.076).Purcellâ
??s magnificent music,
which features a huge
range of tonal color and
form, offers delightful
parts for a variety of
solo, ensemble, and
choral settings. With its
richly expressive
palette, the Ode to St.
Cecilia is an extremely
rewarding work by the
â??Orpheus
Britannicusâ?, as
Purcell was admiringly
called by
contemporaries.-
Festive, rousing ode to
music- Highlight of
the choral ode genre in
the 17th century
(Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - ...(+)
(Soli SAATBB, Coro SATB
(auch SSAATB), 2 Bfl, 2
Ob, 2 Tr, Timp, 2 Vl, Va,
Bc) - Grade 3
SKU:
CA.1025003
Composed
by Henry Purcell. Edited
by Julia Rosemeyer. Vocal
score. Composed 1692. Z
328. Duration 55 minutes.
Carus Verlag #1025003.
Published by Carus Verlag
(CA.1025003).
ISBN
9790007251833. Key: D
major.
English.
âHail
! bright Cecilia, hail to
thee. Great patroness of
us and harmony!â
â this exclamation
opens the final chorus of
Henry Purcellâs
eponymous Ode to St.
Cecilia from 1692. A
paean to the power of
music, the work is one of
the undoubted
masterpieces of English
choral odes of that time.
A resolution of
the Musical Society of
London in 1683 launched
the great tradition of
annual celebrations for
St. Ceciliaâs Day
(November 22), featuring
a church service followed
by performances of
specially composed music.
Over the years, Purcell
wrote several odes for
the occasion, of which
this example from 1692 is
one of the most popular.
Four decades later,
Handel would also
contribute to the
celebrations with his
Alexanderâs Feast,
HWV 75 (Carus 55.075),
and his Ode for St.
Ceciliaâs Day, HWV
76 (Carus
55.076).
Purcellâ
s magnificent music,
which features a huge
range of tonal color and
form, offers delightful
parts for a variety of
solo, ensemble, and
choral settings. With its
richly expressive
palette, the Ode to St.
Cecilia is an extremely
rewarding work by the
âOrpheus
Britannicusâ, as
Purcell was admiringly
called by
contemporaries.
-
Festive, rousing ode to
music - Highlight of
the choral ode genre in
the 17th century .
Score available
separately - see item
CA.1025000.
Organ (Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, ...(+)
Organ (Soli SAATBB, Coro
SATB (auch SSAATB), 2
Bfl, 2 Ob, 2 Tr, Timp, 2
Vl, Va, Bc) - Grade 3
SKU: CA.1025049
Composed by Henry
Purcell. Edited by Julia
Rosemeyer. Composed 1692.
Z 328. Duration 55
minutes. Carus Verlag
#1025049. Published by
Carus Verlag
(CA.1025049).
ISBN
9790007329808. Key: D
major.
English.
âHail
! bright Cecilia, hail to
thee. Great patroness of
us and harmony!â
â this exclamation
opens the final chorus of
Henry Purcellâs
eponymous Ode to St.
Cecilia from 1692. A
paean to the power of
music, the work is one of
the undoubted
masterpieces of English
choral odes of that time.
A resolution of
the Musical Society of
London in 1683 launched
the great tradition of
annual celebrations for
St. Ceciliaâs Day
(November 22), featuring
a church service followed
by performances of
specially composed music.
Over the years, Purcell
wrote several odes for
the occasion, of which
this example from 1692 is
one of the most popular.
Four decades later,
Handel would also
contribute to the
celebrations with his
Alexanderâs Feast,
HWV 75 (Carus 55.075),
and his Ode for St.
Ceciliaâs Day, HWV
76 (Carus
55.076).
Purcellâ
s magnificent music,
which features a huge
range of tonal color and
form, offers delightful
parts for a variety of
solo, ensemble, and
choral settings. With its
richly expressive
palette, the Ode to St.
Cecilia is an extremely
rewarding work by the
âOrpheus
Britannicusâ, as
Purcell was admiringly
called by
contemporaries.
-
Festive, rousing ode to
music - Highlight of
the choral ode genre in
the 17th century .
Score and part available
separately - see item
CA.1025000.
(Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - ...(+)
(Soli SAATBB, Coro SATB
(auch SSAATB), 2 Bfl, 2
Ob, 2 Tr, Timp, 2 Vl, Va,
Bc) - Grade 3
SKU:
CA.1025005
Composed
by Henry Purcell. Edited
by Julia Rosemeyer.
Choral Score. Composed
1692. Z 328. Duration 55
minutes. Carus Verlag
#1025005. Published by
Carus Verlag
(CA.1025005).
ISBN
9790007251840. Key: D
major.
English.
âHail
! bright Cecilia, hail to
thee. Great patroness of
us and harmony!â
â this exclamation
opens the final chorus of
Henry Purcellâs
eponymous Ode to St.
Cecilia from 1692. A
paean to the power of
music, the work is one of
the undoubted
masterpieces of English
choral odes of that time.
A resolution of
the Musical Society of
London in 1683 launched
the great tradition of
annual celebrations for
St. Ceciliaâs Day
(November 22), featuring
a church service followed
by performances of
specially composed music.
Over the years, Purcell
wrote several odes for
the occasion, of which
this example from 1692 is
one of the most popular.
Four decades later,
Handel would also
contribute to the
celebrations with his
Alexanderâs Feast,
HWV 75 (Carus 55.075),
and his Ode for St.
Ceciliaâs Day, HWV
76 (Carus
55.076).
Purcellâ
s magnificent music,
which features a huge
range of tonal color and
form, offers delightful
parts for a variety of
solo, ensemble, and
choral settings. With its
richly expressive
palette, the Ode to St.
Cecilia is an extremely
rewarding work by the
âOrpheus
Britannicusâ, as
Purcell was admiringly
called by
contemporaries.
-
Festive, rousing ode to
music - Highlight of
the choral ode genre in
the 17th century .
Score available
separately - see item
CA.1025000.
Orchestra - Grade 3 SKU: AP.48069S Composed by Rossano Galante. Full Orch...(+)
Orchestra - Grade 3
SKU: AP.48069S
Composed by Rossano
Galante. Full Orchestra;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Concert Full
Orchestra. Score. 20
pages. Duration 5:00.
Belwin Music #00-48069S.
Published by Belwin Music
(AP.48069S).
ISBN
9781470661939. UPC:
038081554327.
English.
Nostaglia,
by Rossano Galante,
literally means a
sentimental longing or
wistful affection for the
past, typically for a
period or place with
happy personal
associations. This
orchestral setting is
lyrical, joyous, and
ultimately hopeful,
taking the listener to a
place of harmonic bliss.
A strong full orchestra
work for festival or the
concert stage, the
composition incorporates
two melodic themes that
build to a climactic
resolution that utilizes
the full ensemble. This
title is available in
MakeMusic Cloud.
(5:00).