Voice(s) with various inst. SKU: BR.DV-9515-01 The people that walked ...(+)
Voice(s) with various
inst.
SKU:
BR.DV-9515-01
The
people that walked in
darkness. Composed by
Johann Georg Reichard.
Edited by Wolfram Steude.
Voice; stapled. Deutscher
Verlag. Baroque period.
Full Score. 24 pages.
Deutscher Verlag fur
Musik #DV 9515-01.
Published by Deutscher
Verlag fur Musik
(BR.DV-9515-01).
ISBN
9790200490596. 9 x 12
inches. German /
English.
In the
latter half of the 18th
and in the 19th century
the Old Preface Testament
Christmas prophecy
(Isaiah 9, 1-6) formed
the basis for numerous
motetto- and cantata-like
compositions originating
from the Erzgebirge and
the Vogtland of Saxony.
From very early times,
this text was included in
Matins for Christmas day,
hut until the period
specified it was usually
intoned on a reciting
note. The present cantata
is one of the few
surviving testimonies to
musical activity in the
small Thuringian town of
Schleiz. The prophecy Das
Volk, so im Finstern
wandelt was written -
probably for performance
at court services - in
all likelihood by Johann
Georg Reichard, a
magistrate in the
Grafschaft (County) of
Reuss who later held
higher judicial
appointments. Reichard
was born at Oels
(Olefoica) in Silesia in
1710 and studied law at
Leipzig from 1732. He
then went to Schleiz and
rose from the position of
archivist to high legal
office, at the same time
succeeding Gottfried
Siegmund Liebich (d.
1736) as director of the
court chapel. He died in
Schleiz on 2 June 1782. A
few of his church
cantatas and other pieces
(serenades etc) written
for the court at Schleiz
once belonged to the
Fursten- and Landesschule
of St Augustine at Grimma
whose music holdings are
now preserved in Dresden.
Some of Reichard's
compositions are
autograph, some in copies
made by his son Heinrich
Gottfried Reichard
(1742-1801) who pursued
an active career at
Grimma both in music and
ancient philology, first
as cantor, finally as
co-rector. The 'Prophecy'
cantata survives
anonymously in a score
copied by Heinrich
Gottfried Reichard who
may well have sung it
himself when he was
fourteen, before bis
voice broke - as the date
Anno 17 56 suggests. He
probably prepared the
score in bis later years
from the original parts,
now no langer existent,
as he did in the case of
other works of his
father's. Whether he
revised the musical text,
and to what extent,
cannot now be
established. This short
and attractive work has
all the lightness and
exuberance of the rococo
as well as genuine
emotional depth. In
addition, it is easy to
perform and should prove
very popular.
Liturgically, it still
occupies a place in
Christmas matins or
vespers. Permission for
this publication was
kindly given by Dr.
Wolfgang Reich of the
Sachsische
Landesbibliothek Dresden,
Musikabteilung. Wolfram
Steude, Dresden, January
1972.
(A sacred oratorio). By George Frideric Handel (1685-1759). Edited by Watkins Sh...(+)
(A sacred oratorio). By
George Frideric Handel
(1685-1759). Edited by
Watkins Shaw. For soprano
solo voice, alto solo
voice, tenor solo voice,
bass solo voice, SATB
choir and piano
accompaniment. Novello
Handel Edition. Baroque,
Choral, Christmas and
Easter. Difficulty:
medium. Vocal score
(paperback). Choral
notation and piano
reduction. 257 pages.
Published by Novello and
Co Ltd
Arranged by
Arnold B. Sherman. Sing &
Ring Series. Hymntune,
Ring & Sing, Christmas,
Children, Sacred.
Handbell score. Hope
Publishing Company #1726.
Published by Hope
Publishing Company
(HP.1726).
UPC:
763628017262. 1 Peter
1:10-12.
Familiar
French Carol Here is a
simple, bright 'ring and
sing' setting of the
familiar French carol, He
Is Born. This
ever-popular Christmas
title shimmers with joy,
and comes with a number
of performance options.
Both the SATB and
Two-Part setting can be
accompanied by keyboard
or handbells. For
handbell choirs there are
separate 3-octave and
5-octave arrangements.
All the settings are
completely compatible
with each other providing
ample opportunity to
involve multiple choirs
and groups in your
Christmas
celebrations.
Moyses Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Scomegna Edizioni Musicali
(Biblical Poem). By Federico Agnello. For concert band. Grade 4.5. Score and...(+)
(Biblical Poem). By
Federico
Agnello. For concert
band.
Grade 4.5. Score and full
set
of parts. Duration 16
minutes.
Published by Scomegna
Edizioni
Musical srl
He Is Born Cloches [Conducteur] - Facile Hope Publishing Company
Edited by Michael Perry. Arranged by Cynthia Dobrinski. Handbell choir. For 3-5 ...(+)
Edited by Michael Perry.
Arranged by Cynthia
Dobrinski. Handbell
choir. For 3-5 octave
handbells. Christmas and
Sacred. Grade 2 .
Handbell Score. 8 pages.
Published by Hope
Publishing Company
Score Orchestra SKU: HL.14032248 Composed by Aulis Sallinen. Music Sales ...(+)
Score Orchestra
SKU:
HL.14032248
Composed
by Aulis Sallinen. Music
Sales America. Classical.
Book [Softcover]. 150
pages. Edition Wilhelm
Hansen #NOV890171.
Published by Edition
Wilhelm Hansen
(HL.14032248).
ISBN
9780853605331.
8.25x11.75x0.505
inches.
Aulis
Sallinen was born in 1935
in Salmi on the northern
shore of Lake Ladoga
(which the Soviet Union
claimed in 1944). His
early musical experience
was playing the violin.
Improvising (including
jazz) on the piano led
him to write his first
compositions as a
teenager. After studying
with Aarre Merikanto and
Joonas Kokkonen at the
Sibelius Academy, he
joined the staff there.
He was Administrator of
the Finnish Radio
Symphony Orchestra
(1960-69); Secretary and
member of the Board
(1958-73), then Chairman
(1971-73) of the Finnish
Composers' Society;
member of the board of
TEOSTO (Finnish copyright
society) from 1970-84,
then Chairman from
1988-90; he also served
for several years on the
Board of the Finnish
National Opera. Here is
the Facsimile of the
Sixth Symphony that was
composed over 1989-1990,
and commissioned and
first performed by the
New Zealand Symphony
Orchestra.
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).
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
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.
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.
Chorale SATB SATB A Cappella [Partition] - Intermédiaire Schirmer
Mixed chorus vocal songbook for SATB choir (a cappella). With SATB vocal score a...(+)
Mixed chorus vocal
songbook for SATB choir
(a cappella). With SATB
vocal score and piano
accompaniment (rehearsal
only). 176 pages.
Published by G. Schirmer,
Inc.
Handbell Ensemble handbell SKU: HP.2977 Arranged by Jason W. Krug. Small(...(+)
Handbell Ensemble
handbell
SKU:
HP.2977
Arranged by
Jason W. Krug. Small(er)
But Mighty. Handbell
score. 20 pages. Hope
Publishing Company #2977.
Published by Hope
Publishing Company
(HP.2977).
UPC:
763628129774.
Eight
Settings for 12 Bells
Intended for the small
ensemble, this collection
includes 8 arrangements
that have been written
for the treble clef,
F5-C7. They can be used
for 3 to 6 ringers.
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).
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053830-010 Composed by Jacqu...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053830-010
Composed by Jacques
Offenbach. The Great
Classics. Transcription.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053830-010. Published by
De Haske Publications
(BT.DHP-1053830-010).
English-German-French-
Dutch.
Jacques
Offenbach was born in
1819 in Cologne, Germany,
but as a child he moved
to Paris where he
received a thorough
musical education. In his
operetta Orpheus in the
Underworld, Offenbach
parodies the famous Greek
legend of Orpheus and
Euridice. Indirectly,
however, he criticises
the complacency of many
of his contemporaries.
The overture was not
written entirely by
Offenbach, Carl Binder
added various pieces to
it for a Viennese
production of this
operetta in 1860 and
since then, these pieces
have remained part of the
composition. This
appealing transcription
includes the famous Can
Can which is sure to get
your audience high
kicking in the
aisles!
Jacques Offenbach
(1819-1880) coltivava
l’arte di
ironizzare sulla
frivolezza delle
abitudini parigine,
sull’amore, sulla
vita politica e la vita
militare. La sua operetta
Orfeo agli Inferni (1858)
è una parodia del mito
greco di Orfeo ed
Euridice, ma dietro la
facciata
dell’antichit , si
abbandona ad una critica
severa del comportamento
di sufficienza di
numerosi suoi
contemporanei.
L’Ouverture come
noi la conosciamo oggi,
non è la versione
originale di Offenbach,
ma una versione
completata da Carl Binder
per una produzione a
Vienna nel 1860. Wil van
der Beek ne ha realizzato
una trascrizione
irresistibile che
contiene il brillante
Cancan, una delle pagine
più celebri
dellospartito.
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053830-140 Composed by Jacqu...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053830-140
Composed by Jacques
Offenbach. The Great
Classics. Transcription.
Score Only. Composed
2005. 44 pages. De Haske
Publications #DHP
1053830-140. Published by
De Haske Publications
(BT.DHP-1053830-140).
English-German-French-
Dutch.
Jacques
Offenbach was born in
1819 in Cologne, Germany,
but as a child he moved
to Paris where he
received a thorough
musical education. In his
operetta Orpheus in the
Underworld, Offenbach
parodies the famous Greek
legend of Orpheus and
Euridice. Indirectly,
however, he criticises
the complacency of many
of his contemporaries.
The overture was not
written entirely by
Offenbach, Carl Binder
added various pieces to
it for a Viennese
production of this
operetta in 1860 and
since then, these pieces
have remained part of the
composition. This
appealing transcription
includes the famous Can
Can which is sure to get
your audience high
kicking in the
aisles!
Jacques Offenbach
(1819-1880) coltivava
l’arte di
ironizzare sulla
frivolezza delle
abitudini parigine,
sull’amore, sulla
vita politica e la vita
militare. La sua operetta
Orfeo agli Inferni (1858)
è una parodia del mito
greco di Orfeo ed
Euridice, ma dietro la
facciata
dell’antichit , si
abbandona ad una critica
severa del comportamento
di sufficienza di
numerosi suoi
contemporanei.
L’Ouverture come
noi la conosciamo oggi,
non è la versione
originale di Offenbach,
ma una versione
completata da Carl Binder
per una produzione a
Vienna nel 1860. Wil van
der Beek ne ha realizzato
una trascrizione
irresistibile che
contiene il brillante
Cancan, una delle pagine
più celebri
dellospartito.
Arranged by Sandra
Eithun. Christmas,
Sacred. Handbell score.
12 pages. Hope Publishing
Company #2728. Published
by Hope Publishing
Company (HP.2728).
UPC:
763628127282.
Chris
tmas hymn With suspended
bells quietly calling, O
Come, O Come, Emmanuel,
the scene is set for the
urgency and excitement
that is to follow -
proclaim the good news
that He Is Born! The
faster tempo, minor
backdrop and tabled
mallet accompaniment
drive the piece forward
with the urgent message
of the Christ Child's
birth. The contrasting
middle section offers a
warmer, more thoughtful
statement that includes
lingering LV passages and
optional handchimes. The
piece closes by reprising
the spirited section and
is capped off with a
celebratory fanfare in
major tonalities.
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet
SKU:
CF.W2682
For
Trumpet in E and Piano,
S.49. Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (CF.W2682).
ISBN 9781491144954.
UPC: 680160902453. 9 x 12
inches. Key: E
major.
Choir Secular Double Choir and Violoncello SKU: PE.EP73479 Composed by Fr...(+)
Choir Secular Double
Choir and Violoncello
SKU: PE.EP73479
Composed by Francis Pott.
Choral Works (inc.
Oratorios). Edition
Peters. Living Composer.
Vocal Score. 164 pages.
Edition Peters
#98-EP73479. Published by
Edition Peters
(PE.EP73479).
ISBN
9790577019888. 297 x
210mm inches.
English.
At
First Light was
commissioned by Eric
Bruskin, a resident of
Philadelphia, USA, in
memory of his mother.
Eric had a longstanding
enthusiasm for my work,
and I was touched to be
the person he approached
for a task which is both
a privilege and a
daunting responsibility.
In a sense, no music can
ever measure up to the
weight of love or the
hope of consolation
vested in it under such
circumstances - but in
memory I carry the deaths
of both my own parents,
and I was able to draw
upon that. Eric's
fondness for my Cello
Sonata (itself written in
memoriam) led him to ask
that I include a solo
'cello part in the new
work - but his attachment
also to my polyphonic
sacred choral writing
meant that he wanted a
centrepiece which would
be both a showcase of
that approach and the
celebration of a life
well lived. Therefore,
the seven movements of At
First Light arrange
themselves as a series of
slow meditations
surrounding an exuberant
9-minute motet in which
the lamenting cello falls
temporarily
silent.
Eric's
Jewish faith meant that
approaching an agnostic
humanist brought up
within the Anglican
tradition was hardly free
of problems! Gradually,
though, I was able to win
his approval for a
collated mosaic of texts.
This embraces some
liturgical Latin
(necessary for the motet)
as the shared preserve of
broad western culture in
general, but balances it
with a secular approach
to loss, celebration,
remembrance and the many
shades of our mourning
those whom we see no
longer. Eric was adamant
that he did not want the
title Requiem; but what
has emerged is still a
form of semi-secular
Requiem in all but name,
taking its title instead
from a phrase in the poem
by Thomas Blackburn set
as the third movement.
This seemed to suggest
succinctly how the loss
of one very close to us
is an awakening into an
unfamiliar world where
everything is changed.
Following the exuberant
central movement, the
texts by the
Lebanese-born Kahlil
Gibran and the US,
Kentuckian poet Wendell
Berry first address the
departed loved one
directly, then place us
within an imaginary
funeral cortege, where
the perennial and
universal in human
experience become
personal without
subscribing explicitly to
any particular faith (or
lack of it). The final
text of all is a
translation of a Hebraic
prayer, requested and
provided by Eric Bruskin,
which serves to mirror
its Latin counterpart
heard at the
outset.
Throughout
, the lamenting cello
represents a commentary
on the experience
articulated in the text.
It evokes and, in a
sense, tries to embrace
and sanctify the
individual existential
journeys of the bereft,
as they in turn seek to
make their own sense of
what the short-lived
Second World War poet
Alun Lewis called 'the
unbearable beauty of the
dead' (movement
5).
In a modern
world hostage to ever
greater menace,
displacement, bloodshed
and anguish, I hope
fervently that this music
not only brings a measure
of solace to the person
who commissioned it, but
also makes its own small
contribution to bailing
out the sinking ship of
humanity.