| 1712 Overture Orchestre Theodore Presser Co.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra SKU:
PR.416415760 For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760). UPC:
680160636532. 9 x 12
inches. The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 1712 Overture Orchestre Theodore Presser Co.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra SKU:
PR.41641576L For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L). UPC:
680160636549. 11 x 17
inches. The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Songs of Harriet Tubman Theodore Presser Co.
Chamber Music Piano, soprano voice SKU: PR.411411690 Composed by Nkeiru O...(+)
Chamber Music Piano,
soprano voice SKU:
PR.411411690 Composed
by Nkeiru Okoye. 32
pages. Duration 25
minutes. Theodore Presser
Company #411-41169.
Published by Theodore
Presser Company
(PR.411411690). UPC:
680160686032. The
four name arias in
HARRIET TUBMAN: When I
crossed that Line To
Freedom, portray stages
in the title character's
transformation from slave
to freedom-fighter.
First, as a child, she
introduces herself as
Araminta, who is often
called, Minty. Her naive
prattlings establish a
dramatic contrast between
childhood's contentment
and the harsh realities
of slave existence. My
name is Harriet, now.
Don't call me Minty any
more, declares the
teenaged heroine. Having
survived a series of
abusive masters and a
debilitating injury, she
asserts her rites of
womanhood through the
shedding of her childhood
moniker. The grown
Harriet Tubman
reintroduces herself as a
free woman, recounting
the harrowing tale of
escape from slavery.
Confronted by bittersweet
poignancy at having
crossed the line to
freedom without family to
welcome her, she is
inspired towards a new
goal: returning home to
rescue loved ones. In the
final aria, Tubman, a
seasoned conductor on the
Underground Railroad,
embraces the folkloric
title given to her by
escapees and aspiring
runaways. I am 'Moses,
the Liberator,' she
proclaims. Her
transformation is
complete. The four
“name†arias
in HARRIET TUBMAN: When I
crossed thatLine To
Freedom, portray stages
in the title character's
transformationfrom slave
to freedom-fighter.First,
as a child, she
introduces herself as
“Araminta,â€
who is oftencalled,
“Minty.†Her
naïve prattlings
establish a dramatic
contrastbetween
childhood's contentment
and the harsh realities
of
slaveexistence.“My
name is Harriet, now.
Don't call me Minty any
more,†declares
theteenaged heroine.
Having survived a series
of abusive masters and
adebilitating injury, she
asserts her rites of
womanhood through
theshedding of her
childhood moniker.The
grown Harriet Tubman
reintroduces herself as a
free woman,recounting the
harrowing tale of escape
from slavery. Confronted
bybittersweet poignancy
at having crossed the
line to freedom
withoutfamily to welcome
her, she is inspired
towards a new goal:
returninghome to rescue
loved ones.In the final
aria, Tubman, a seasoned
conductor on the
UndergroundRailroad,
embraces the folkloric
title given to her by
escapees andaspiring
runaways. “I am
'Moses, the
Liberator,'†she
proclaims.
Hertransformation is
complete. $27.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Definitive Bob Dylan Songbook (Small Format) Paroles et Accords [Partition] Music Sales
By Bob Dylan. By Bob Dylan. Arranged by Don Giller and Ed Lozano. Music Sales Am...(+)
By Bob Dylan. By Bob
Dylan. Arranged by Don
Giller and Ed Lozano.
Music Sales America.
Folk, Pop, Rock.
Softcover. Composed 2016.
788 pages. Music Sales
#AM978923. Published by
Music Sale
$35.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Danzón No. 2 Piano seul Peermusic Classical
Piano SKU: PR.701175060 Arranged by Edison Quintana. Peermusic Classical ...(+)
Piano SKU:
PR.701175060 Arranged
by Edison Quintana.
Peermusic Classical
#70117-506. Published by
Peermusic Classical
(PR.701175060). UPC:
888680101268. “Th
e idea of writing the
Danzón No.2 originated
in 1993 during a trip to
Malinalco with the
painter Andrés Fonseca
and the dancer Irene
Martínez, both of whom
are experts in salon
dances with a special
passion for the danzón,
which they were able to
transmit to me from the
beginning, and also
during later trips to
Veracruz and visits to
the Colonia Salon in
Mexico City. From these
experiences onward, I
started to learn the
danzón’s rhythms, its
form, its melodic
outline, and to listen to
the old recordings by
Acerina and his Danzonera
Orchestra. I was
fascinated and I started
to understand that the
apparent lightness of the
danzón is only like a
visiting card for a type
of music full of
sensuality and
qualitative seriousness,
a genre which old Mexican
people continue to dance
with a touch of nostalgia
and a jubilant escape
towards their own
emotional world; we can
fortunately still see
this in the embrace
between music and dance
that occurs in the State
of Veracruz and in the
dance parlors of Mexico
City. The Danzón No.2 is
a tribute to the
environment that
nourishes the genre. It
endeavors to get as close
as possible to the dance,
to its nostalgic
melodies, to its wild
rhythms, and although it
violates its intimacy,
its form and its harmonic
language, it is a very
personal way of paying my
respects and expressing
my emotions towards truly
popular music. Danzón
No.2 was written on a
commission by the
Department of Musical
Activities at Mexico’s
National Autonomous
University and is
dedicated to my daughter
Lily.” -- Arturo
Marquez About the danzon
genre, Lidice Valenzuela
writes in Cubanow: The
history of the danzon
goes back to the arrival
in Cuba of the European
contradance. It came in
three different ways:
directly from Spain, the
colonial metropolis; with
the British, who occupied
Havana in 1762; and the
French colonizers and
their slaves who landed
in Cuba's Eastern shores
after fleeing from the
Haitian Revolution. From
all of that
trans-cultural process
the Danzon was born. This
new Cuban dance,
naturalized by the
Creoles, had much more
expressive freedom: the
couple danced in each
other's arms, and the
dancing time was
extended. People began
calling it Danzon and it
was in Matanzas, in the
1870s that figure dancing
also began to be called
Danzon. Thus, Failde, an
outstanding musician,
named his composition
with the generic name of
Danzon.. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Danzón No. 2 Piano seul Peermusic Classical
Piano SKU: PR.701185010 Arranged by Leticia Gómez-Tagle. Peermusic Class...(+)
Piano SKU:
PR.701185010 Arranged
by Leticia Gómez-Tagle.
Peermusic Classical
#70118-501. Published by
Peermusic Classical
(PR.701185010). UPC:
888680101275. “Th
e idea of writing the
Danzón No.2 originated
in 1993 during a trip to
Malinalco with the
painter Andrés Fonseca
and the dancer Irene
Martínez, both of whom
are experts in salon
dances with a special
passion for the danzón,
which they were able to
transmit to me from the
beginning, and also
during later trips to
Veracruz and visits to
the Colonia Salon in
Mexico City. From these
experiences onward, I
started to learn the
danzón’s rhythms, its
form, its melodic
outline, and to listen to
the old recordings by
Acerina and his Danzonera
Orchestra. I was
fascinated and I started
to understand that the
apparent lightness of the
danzón is only like a
visiting card for a type
of music full of
sensuality and
qualitative seriousness,
a genre which old Mexican
people continue to dance
with a touch of nostalgia
and a jubilant escape
towards their own
emotional world; we can
fortunately still see
this in the embrace
between music and dance
that occurs in the State
of Veracruz and in the
dance parlors of Mexico
City. The Danzón No.2 is
a tribute to the
environment that
nourishes the genre. It
endeavors to get as close
as possible to the dance,
to its nostalgic
melodies, to its wild
rhythms, and although it
violates its intimacy,
its form and its harmonic
language, it is a very
personal way of paying my
respects and expressing
my emotions towards truly
popular music. Danzón
No.2 was written on a
commission by the
Department of Musical
Activities at Mexico’s
National Autonomous
University and is
dedicated to my daughter
Lily.” -- Arturo
Marquez About the danzon
genre, Lidice Valenzuela
writes in Cubanow: The
history of the danzon
goes back to the arrival
in Cuba of the European
contradance. It came in
three different ways:
directly from Spain, the
colonial metropolis; with
the British, who occupied
Havana in 1762; and the
French colonizers and
their slaves who landed
in Cuba's Eastern shores
after fleeing from the
Haitian Revolution. From
all of that
trans-cultural process
the Danzon was born. This
new Cuban dance,
naturalized by the
Creoles, had much more
expressive freedom: the
couple danced in each
other's arms, and the
dancing time was
extended. People began
calling it Danzon and it
was in Matanzas, in the
1870s that figure dancing
also began to be called
Danzon. Thus, Failde, an
outstanding musician,
named his composition
with the generic name of
Danzon.. $14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Self Destruct Orchestre d'harmonie [Conducteur] - Facile Excelcia Music Publishing
Concert Band Concert Band - Grade 2.5 SKU: XC.ICB1906FS Composed by Jason...(+)
Concert Band Concert Band
- Grade 2.5 SKU:
XC.ICB1906FS Composed
by Jason K. Nitsch.
Intermezzo Band Series.
Concert and Contest.
Classical, Acoustic.
Score. Excelcia Music
Publishing #ICB1906FS.
Published by Excelcia
Music Publishing
(XC.ICB1906FS). UPC:
812598031416. 9 x 12
inches. Have you
ever had one of those
days? You’re about
to! Step into a race
against time as you
attempt to escape with
your life intact! The
irony? It’s all
your fault! After
accidentally setting the
buildings self-destruct
sequence, you hurriedly
search for an exit which
leads to freedom. Blocked
paths, obstacles, and a
really snarky computer
stand in your way of
escape. Will you get out
in time? Find out in Self
Destruct! This piece
uniquely includes
downloadable sound drops
to integrate electronic
sounds into a modern
concert band work. $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Self Destruct Orchestre d'harmonie - Facile Excelcia Music Publishing
Concert Band Concert Band - Grade 2.5 SKU: XC.ICB1906 Composed by Jason K...(+)
Concert Band Concert Band
- Grade 2.5 SKU:
XC.ICB1906 Composed
by Jason K. Nitsch.
Intermezzo Band Series.
Concert and Contest.
Classical, Acoustic. Set
of parts. Excelcia Music
Publishing #ICB1906.
Published by Excelcia
Music Publishing
(XC.ICB1906). UPC:
812598032031. 9 x 12
inches. Have you
ever had one of those
days? You’re about
to! Step into a race
against time as you
attempt to escape with
your life intact! The
irony? It’s all
your fault! After
accidentally setting the
buildings self-destruct
sequence, you hurriedly
search for an exit which
leads to freedom. Blocked
paths, obstacles, and a
really snarky computer
stand in your way of
escape. Will you get out
in time? Find out in Self
Destruct! This piece
uniquely includes
downloadable sound drops
to integrate electronic
sounds into a modern
concert band work. $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Schumann In Endenich Pf/org/5 Perc Schott
Piano, elektrische organ (harmonium) and percussion (5 player) SKU: HL.490063...(+)
Piano, elektrische organ
(harmonium) and
percussion (5 player)
SKU: HL.49006313
Chamber music No.
2. Composed by
Wilhelm Killmayer. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score (also
Performance Score).
Composed 1972. 16 pages.
Duration 8'. Schott Music
#ED 6431. Published by
Schott Music
(HL.49006313). ISBN
9790001068468. Wilh
elm Killmayer puts a
single note at the heart
of this composition.
Butwhereas Robert
Schumann took it as the
starting point of his
romanticism,Killmayer
doesn't allow himself the
freedom to develop poetic
melodies. Just as
Schumann deliberately
decided to live within
the constraints of a
mental asylum in
Endenich, Killmayer
favours the constraints
of a very limited tonal
space. Recurring seconds
in the piano part
illustrate the
confines in the
life of the ill composer.
Even the addition of a
vibraphone,bongo and
conga cannot overcome
these boundaries in the
end. The only option left
is to look inwards for an
escape. And when
refined tone
colours are revealed in a
dialogue between piano
and glockenspiel,
Schumann in Endenich
turns into a journey into
the consciousness of an
enigmatic fellow human
being.
Schlagzeug
I: Glockenspiel,
Ruhrtrommel, hohe
Pedalpauke; Schlagzeug
II: Glockenspiel,
Xylophon, Bongo (mittel),
Holzfass (oder grosses
Holzbrett mit Resonanz);
Schlagzeug III:
Vibraphon, Marimbaphon, 2
Congas (mittel-tief),
Ruhrtrommel; Schlagzeug
IV: Gong in c, Steinspiel
(a''), Bongo (tief),
Ruhrtrommel, Pauke in g;
Schlagzeug V: grosses
Tamtam, Gegenschlagholzer
(yoshigi), Pauke in E und
A (cis), Conga
(mittel). $19.99 - Voir plus => Acheter | | |
| Follow the Drinking Gourd Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Arranged by Carrie Lane Gruselle. Arr. Carrie Lane Gruselle. For String Orchestr...(+)
Arranged by Carrie Lane
Gruselle. Arr. Carrie
Lane Gruselle. For String
Orchestra. String
Orchestra. String
Orchestra. Folk Song;
Spiritual. Level: 3
(grade 3). Conductor
Score and Parts. 1 pages.
Published by Alfred
Publishing.
(1)$48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 100 Years Of Popular Music 1970s Piano, Voix et Guitare [Partition] - Intermédiaire Alfred Publishing
Edited by Zoby Perez. Piano/Vocal songbook (Piano/Vocal/Chords. Arrangements for...(+)
Edited by Zoby Perez.
Piano/Vocal songbook
(Piano/Vocal/Chords.
Arrangements for piano
and voice with guitar
chords). Published by
Alfred Publishing.
(1)$21.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| They Shall Run and Be Free Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Brant Karrick. Concert Band. Concert Band. Alfred Concert Band. Grade 4. Cond...(+)
By Brant Karrick. Concert
Band. Concert Band.
Alfred Concert Band.
Grade 4. Conductor Score
and Parts. 292 pages
$90.00 $85.5 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Stand Up (from Harriet) Chorale 3 parties 3 parties Mixtes Hal Leonard
3-Part Mixed Choral (3-Part Mixed choir) SKU: HL.371375 Discovery Leve...(+)
3-Part Mixed Choral
(3-Part Mixed choir)
SKU: HL.371375
Discovery Level 2.
Composed by Cynthia
Echeumuna-Erivo and
Joshuah Campbell.
Arranged by Rollo
Dilworth. Discovery
Choral. Concert, Light
Concert, Movies. Octavo.
16 pages. Duration 200
seconds. Published by Hal
Leonard (HL.371375).
ISBN 9781705148136.
UPC: 840126994957.
6.75x10.5x0.036
inches. The
dramatic song
“Stand Up,â€
from the movie,
“Harriet,â€
depicts the determined
mindset of Harriet Tubman
as she led escaped slaves
out of the South to
freedom in the North.
Song themes highlight
courage, perseverance,
and care for others,
important historical
issues and present day as
well. $2.75 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Three Fantasies Piano seul [Conducteur] Theodore Presser Co.
Chamber Music Piano SKU: PR.110418380 Composed by Carlos Gardels. Full sc...(+)
Chamber Music Piano
SKU: PR.110418380
Composed by Carlos
Gardels. Full score. 12
pages. Duration 8
minutes, 40 seconds.
Theodore Presser Company
#110-41838. Published by
Theodore Presser Company
(PR.110418380). ISBN
9781491135334. UPC:
680160687497. THREE
FANTASIES is a
fantastical escape from
reality. The first
fantasy
(“Preludeâ€)
features a luscious and
expressive melody
accompanied by dark,
romantic harmonies. The
following fantasy
(“Cosmic
Lullabyâ€) begins
and ends in a serene and
introspective manner,
with a tumultuous and
harmonically rich middle
section. To end the set,
“Intermezzoâ€
provides reflection and a
lively resolution.
Gardels’ profound
lyricism and masterful
piano writing make this
set enjoyable for any
pianist to perform at
home or in the concert
hall. The three
fantasies here were
written during the height
of the 2020-21
Coronavirus lockdowns
– a time everyone
will forever recall as a
period of the world
standing still and
experiencing new degrees
of isolation, inactivity,
and apprehension.A
fantasy is a genre to
which a composer can turn
as a respite from the
constraints of form,
tradition, and
expectation. What the
genre may lack in
structure and design it
makes up for with
spontaneity,
capriciousness, and
improvisatory musical
gesture.I hope performers
feel free to take a
similarly
“fantasticalâ€
approach to the
interpretation of these
works, seeing the score
and notation as a point
of departure rather than
arrival, and proceed with
unabashed freedom of
spirit in their
playing. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Piano Playbook Film Music Piano seul Music Sales
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