Composed by
Dan Davison. 12 pages.
Duration 2 minutes, 41
seconds. Carl Fischer
Music #CM9727. Published
by Carl Fischer Music
(CF.CM9727).
ISBN
9781491161067. UPC:
680160919666. Key: Eb
major. Latin. Traditional
Latin.
Please use
NOTES from SA(T)B BL1031
and replace the 2nd
paragraph with the
following: When a
counterpoint section
occurs, keep in mind that
only one part can be
dominant at a time. For
example, at letter A, the
basses have the lead.
However, when the
baritones enter two
measures later, they will
have the spotlight, and
the basses must sing
softer in order to let
the baritones be heard.
Two measures later, the
basses and the baritones
must both take a back
seat when the focus
shifts to the tenors. The
important thing to
remember about
counterpoint is that the
singers must learn the
art of taking turns being
dominant. Please use
NOTES from SA(T)B BL1031
and replace the 2nd
paragraph with the
following:When a
counterpoint section
occurs, keep in mind that
only one part can be
dominant at a time.Â
For example, at letter A,
the basses have the
lead. However, when
the baritones enter two
measures later, they will
have the spotlight, and
the basses must sing
softer in order to let
the baritones be
heard. Two measures
later, the basses and the
baritones must both take
a back seat when the
focus shifts to the
tenors. The important
thing to remember about
counterpoint is that the
singers must learn the
art of “taking
turns†being
dominant.
Chamber Music Harpsichord SKU: PR.110418390 Composed by Eric Ewazen. Full...(+)
Chamber Music Harpsichord
SKU: PR.110418390
Composed by Eric Ewazen.
Full score. 11 pages.
Duration 10 minutes.
Theodore Presser Company
#110-41839. Published by
Theodore Presser Company
(PR.110418390).
ISBN
9781491134603. UPC:
680160685158.
Eric
Ewazen’s THREE
INVENTIONS were inspired
by Bach’s Two-part
Inventions, yet they
sound thoroughly like
Ewazen. Composed for
harpsichord (with a piano
adaptation following
later), Ewazen’s
inventions maintain a
pure “one note per
hand†texture until
their final chord, with
strong-but-free imitative
counterpoint between the
two voices. While Ewazen
may be best known for his
wind music, he is a
pianist himself, and
composers’ works
for their own instrument
are a direct insight into
how they write for their
own performances. The
piano adaptation of THREE
INVENTIONS is also
available as a separate
publication. THREE
INVENTIONS was written
for my dear friend Maria
Rojas, who premiered the
work on a faculty recital
at Juilliard. Maria is
both a pianist and a
harpsichordist, and I
first met her when she
gave a demonstration of
the harpsichord for the
students in my theory
classes.I’ve
always been captivated by
Bach’s series of
Two-Part and Three-Part
Inventions. With the
Two-Part Inventions,
I’m amazed how
Bach could create such
wonderful intricacy and
counterpoint with only
two voices. I
consequently modeled my
inventions after the
counterpoint of Bach,
involving the traditional
contrapuntal devices he
used: imitation,
development, harmonic and
modal shifts,
fragmentation, and
sequence, essentially
creating a dialog between
two completely equal
voices conversing with
each other!Bach wrote 15
Two-Part Inventions (as
well as 15 Three-Part
Inventions, not to
mention the 48 preludes
and fugues in The
Well-Tempered Clavier!),
and that’s just
the start of his
voluminous repertoire for
the keyboard! I was happy
just to write
three!!!Each of my
inventions has a
distinctive mood. The
first is in a relaxed,
yet cheerful C Major
tonality (as a nod to
Bach’s Invention
No. 1 in C Major); the
second is heartfelt and
lyrical; and the third
invention (involving a
Gigue rhythm in the
compound meter of 12/8)
is energetic, and full of
life and spontaneity. The
third is primarily in a
minor tonality, resulting
in a feeling of drama,
bringing the THREE
INVENTIONS to an exciting
finale.
Composed by Traditional Spiritual. Arranged by Dan Davison. Sws. Octavo. 16 ...(+)
Composed by Traditional
Spiritual. Arranged by
Dan
Davison. Sws. Octavo. 16
pages. Duration 2
minutes, 50
seconds. BriLee Music
#BL1155. Published by
BriLee
Music
Commence! Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Cla...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Chimes, China
Cymbal, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1
and more. - Grade 3
SKU: CF.CPS210
Composed by Sean
O'Loughlin. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
16+16+8+16+32+32+8+8+8+8+
8+8+16+16+16+8+8+12+12+12
+16+8+4+8+32+40+8 pages.
Duration 3 minutes, 57
seconds. Carl Fischer
Music #CPS210. Published
by Carl Fischer Music
(CF.CPS210).
ISBN
9781491152362. UPC:
680160909865.
A
driving composition from
Sean
O'loughlin,?Commence!?beg
ins with a spirited theme
that oscillates between
triple and duple meter.
After developing into a
heartfelt lush brass
chorale, the lilting
theme returns again. The
composition concludes
with a dramatic return of
the B theme and a rousing
finale. A beautiful
piece,?Commence!?is
a?strong choice for any
contest or
festival.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
. Co
mmence! was commissioned
by the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn. This piece is
a loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension releases
into a slow section that
features a flowing,
heartfelt melody. This
builds to the big moment
at m. 112. The timpani
ushers us back to the
6/8, 2/4 section. The
melody is now accompanied
by some flowing
counterpoint at m. 153
which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing finale.
Composed
by Sean O'Loughlin. First
Plus Band (FPS). Full
score. With Standard
notation. 20 pages. Carl
Fischer Music #FPS152F.
Published by Carl Fischer
Music (CF.FPS152F).
ISBN 9781491152805.
UPC:
680160910304.
Incur
sion was a collaboration
between composer Sean
O'Loughlin and the
students of the
commissioning group. When
asked for a dark and
scary sounding piece,
O'Loughlin delivered in
his typical fashion.
Aggressive rhythmic
figures set the tone of
the piece early with a
foreboding and dark
melody in the lower
voices. The piece
develops through a number
of contrasting sections,
providing plenty of
exciting variations for
students to
enjoy. Incursion is a
dramatic, powerful work
for the developing
ensemble. The piece
begins with an aggressive
rhythmic idea that sets
the tone for the
composition. The lower
voices enter with a
foreboding and dark
melody that carries on
this feeling. The upper
voices then split into
counterpoint with the
lower voices at m. 17.
The counterpoint splits
into three parts at m.
25, which culminates in a
return to the opening
rhythmic figure at m. 33.
A contrasting slow
section features some
lush and haunting
passages. Measure 54
brings the opening
rhythmic figure back
again, but this time
includes a quietly
intense approach. A
recapitulation of the
counterpoint and
subsequent development
follows. Measure 83
brings back the opening
rhythmic idea one more
time to conclude with a
rousing finish.
Commence! Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Cla...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Chimes, China
Cymbal, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1
and more. - Grade 3
SKU: CF.CPS210F
Composed by Sean
O'Loughlin. Concert Band
(CPS). Full score. With
Standard notation. 40
pages. Carl Fischer Music
#CPS210F. Published by
Carl Fischer Music
(CF.CPS210F).
ISBN
9781491153048. UPC:
680160910540.
A
driving composition from
Sean
O'loughlin,?Commence!?beg
ins with a spirited theme
that oscillates between
triple and duple meter.
After developing into a
heartfelt lush brass
chorale, the lilting
theme returns again. The
composition concludes
with a dramatic return of
the B theme and a rousing
finale. A beautiful
piece,?Commence!?is
a?strong choice for any
contest or
festival.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
. Co
mmence! was commissioned
by the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn. This piece is
a loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension releases
into a slow section that
features a flowing,
heartfelt melody. This
builds to the big moment
at m. 112. The timpani
ushers us back to the
6/8, 2/4 section. The
melody is now accompanied
by some flowing
counterpoint at m. 153
which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing finale.
Composed by Sean
O'Loughlin. First Plus
Band (FPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+5+2+2+4+4+4+6+3
+1+2+4+4+20+2 pages.
Duration 2 minutes, 5
seconds. Carl Fischer
Music #FPS152. Published
by Carl Fischer Music
(CF.FPS152).
ISBN
9781491152126. UPC:
680160909629.
Incur
sion was a collaboration
between composer Sean
O'Loughlin and the
students of the
commissioning group. When
asked for a dark and
scary sounding piece,
O'Loughlin delivered in
his typical fashion.
Aggressive rhythmic
figures set the tone of
the piece early with a
foreboding and dark
melody in the lower
voices. The piece
develops through a number
of contrasting sections,
providing plenty of
exciting variations for
students to
enjoy. Incursion is a
dramatic, powerful work
for the developing
ensemble. The piece
begins with an aggressive
rhythmic idea that sets
the tone for the
composition. The lower
voices enter with a
foreboding and dark
melody that carries on
this feeling. The upper
voices then split into
counterpoint with the
lower voices at m. 17.
The counterpoint splits
into three parts at m.
25, which culminates in a
return to the opening
rhythmic figure at m. 33.
A contrasting slow
section features some
lush and haunting
passages. Measure 54
brings the opening
rhythmic figure back
again, but this time
includes a quietly
intense approach. A
recapitulation of the
counterpoint and
subsequent development
follows. Measure 83
brings back the opening
rhythmic idea one more
time to conclude with a
rousing finish.
Piano SKU: HL.14019430 Composed by Johann Sebastian Bach. Music Sales Ame...(+)
Piano
SKU:
HL.14019430
Composed
by Johann Sebastian Bach.
Music Sales America.
Classical. Book
[Softcover]. Composed
2007. 12 pages. Chester
Music #CH02253. Published
by Chester Music
(HL.14019430).
This C major
Glorioso, 'victory over
the dragon,' was taken
from the 130th cantata
and is scored for full
orchestra (including
trumpets and timpani).
The number of different
voices and counterpoints
made it difficult to
arrange this piece for
piano solo. Two versions
have therefore been
chosen, one easier than
the other. Herr Gott,
dich loben alle wir.
Organ (solos: SATB - choir: SATB - 2.2.chal.0(2) - 2.2.0.0. - timp - theorbe - s...(+)
Organ (solos: SATB -
choir: SATB -
2.2.chal.0(2) - 2.2.0.0.
- timp - theorbe - str)
SKU: BR.OB-5593-11
Urtext. Composed
by Jan Dismas Zelenka.
Edited by David Erler.
Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Royal Funeral
Music
Requiem;
Baroque. Part. 40 pages.
Breitkopf and Haertel #OB
5593-11. Published by
Breitkopf and Haertel
(BR.OB-5593-11).
ISBN
9790004344309. 10 x 12.5
inches.
For the
funeral rites after the
death of King Augustus I.
of Saxony (Augustus the
Strong), Zelenka composed
the Requiem in D (ZWV 46)
and the Officium
Defunctorum (ZWV 47),
both integral parts of
the exequies for the
Saxon-Polish ruler.
Zelenka had to finish
this work in a great
hurry, and implemented -
suitable to the occasion
- an impressing abundance
of sound colors and
inventiveness: muted
trumpets and horns,
chalumeau, obligate
fagotti as well as
extremely virtuoso solo
parts and fully developed
counterpoints in the
choral settings. With the
present Urtext edition
David Erler is closing
one of the last gaps in
the series of large-scale
sacred works of Zelenka
in Breitkopf & Hartel's
catalog.Have a look into
the piano vocal
score.
Composed
by Manfred Trojahn.
Stapled. Score. Composed
2009. 43 pages. Duration
21 minutes. Baerenreiter
Verlag #BA09378_00.
Published by Baerenreiter
Verlag (BA.BA09378).
ISBN 9790006539086.
32.5 x 25.5 cm
inches.
A modern
sequel to the music of
the Romantic era.
The first
movement hints at the
chromatic of
“Tristanâ€;
cantilena lines convey a
mournful scene. It is
succeeded by a brilliant
scherzo with the cryptic
title “Erste fremde
Szene†(First
Foreign/Unknown Scene
– one is invited
to solve this riddle),
while the third movement,
with its singing quality,
is related to the first.
The final movement, a
“Zweite fremde
Szeneâ€
(“Second
Foreign/Unknown
Sceneâ€), alludes to
the “last
dance†tradition,
with its ironic
undertones and the
copious use of sixths,
counterpointed with
tarantella rhythms.
A rewarding,
striking work, equally
valuable for concerts
combining older
compositions with new
works as for contemporary
music programmes.
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by David Tickton. With...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Arranged by
David Tickton. With
Standard notation. Falls
House Press #3F-T5.
Published by Falls House
Press (PR.FH0003).
Chorus a cappella SKU: BR.CHB-3145-02 Urtext. Composed by Giovanni...(+)
Chorus a cappella
SKU:
BR.CHB-3145-02
Urtext. Composed
by Giovanni Pierl da
Palestrina. Edited by
Rudolf Ewerhart. Choir;
stapled. Chor-Bibliothek
(Choral Library). Mass;
Renaissance/early
Baroque. Choral score. 28
pages. Breitkopf and
Haertel #ChB 3145-02.
Published by Breitkopf
and Haertel
(BR.CHB-3145-02).
ISBN
9790004403501. 7.5 x 10.5
inches.
Palestrina'
s Missa Paternoster is
one of the masses by this
composer that were
published neither during
his lifetime nor after
his death. The work has
come down to us in one
single manuscript source
from the collections of
the Cappella Sistina in
Rome, a copy transcribed
by D. Brancadore in
1618.The mass is written
on motifs from the
ancient plainchant Pater
noster melody from the
mass liturgy, which
underlays the movements
in an admirable
multiplicity of melodic
forms. New counterpoints
are repeatedly
intertwined with the
themes of the title
melody over the course of
the mass. Certain
idiosyncrasies in the
voice-leading and the
austere sonorities that
recall the late
Netherlandish tradition
give rise to the
hypothesis that this is a
relatively early work of
Palestrina.Several
decades ago, the Missa
Paternoster was published
by Breitkopf & Hartel in
a performance edition
prepared by Hermann
Bauerle. The present
edition is based on the
copy of the work printed
in the Choirbook 68
(Cappella Sistina) of the
Biblioteca Vaticana in
Rome. The poor condition
of the source made it
necessary to compare it
with Haberl's Complete
Edition as weil, after
which two errors have to
be corrected. Our edition
cannot pretend to offer a
definitive reading of the
accidentals, since they
are difficult to
distinguish in the
original. The work was
transposed, as this
seemed more appropriate
to present-day choral
practice. Finally, the
note values were reduced
by a half and the closing
notes reproduced
uniforrnly as longae.
Palestrina's Missa
,,Pater noster occupies a
distinguished position
next to its better known,
four-part fellow works.
lt deserves this rank
thanks to its dignified
and broadly sweeping
themes, the archaic
loftiness of its sound,
and the wealth of motivic
work contained within it.
We sincerely hope that
this new edition will
stimulate choirs to turn
their attention once
again to this rarely sung
mass by the great Roman
master.Rudolf
Ewerhart,January 1962,
Munster (Westf.).
Urtext. Composed
by Jan Dismas Zelenka.
Edited by David Erler.
Choir; Folder.
Orchester-Bibliothek
(Orchestral Library).
Royal Funeral
Music
Requiem;
Baroque. Set of parts.
116 pages. Breitkopf and
Haertel #OB 5593-30.
Published by Breitkopf
and Haertel
(BR.OB-5593-30).
ISBN
9790004344859. 10 x 12.5
inches.
For the
funeral rites after the
death of King Augustus I.
of Saxony (Augustus the
Strong), Zelenka composed
the Requiem in D (ZWV 46)
and the Officium
Defunctorum (ZWV 47),
both integral parts of
the exequies for the
Saxon-Polish ruler.
Zelenka had to finish
this work in a great
hurry, and implemented -
suitable to the occasion
- an impressing abundance
of sound colors and
inventiveness: muted
trumpets and horns,
chalumeau, obligate
fagotti as well as
extremely virtuoso solo
parts and fully developed
counterpoints in the
choral settings. With the
present Urtext edition
David Erler is closing
one of the last gaps in
the series of large-scale
sacred works of Zelenka
in Breitkopf & Hartel's
catalog.Have a look into
the piano vocal
score.
Amid the Great Displace Orchestre d'harmonie - Intermédiaire/avancé Opus III Wind Orchestra Publications
Grade 4 SKU: CL.012-3617-00 Composed by C. McBride. Concert Band. Spotlig...(+)
Grade 4
SKU:
CL.012-3617-00
Composed by C. McBride.
Concert Band. Spotlight
Series. Audio recording
available separately
(item CL.WFR349). Score
and set of parts.
Composed 2007. Duration 5
minutes, 22 seconds. Opus
III Wind Orchestra
Publications
#012-3617-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-3617-00).
Commemorating a
landmark event in
history, Cory McBride
sets out to replicate the
awe of the New Madrid
Earthquake of February
12, 1812, which affected
over 1 million square
miles and was powerful
enough to change the
route of the Mississippi
River. Featuring an
insistent motive that is
supported by intertwined
counterpoints, the
vigilant beginning leads
to a chorale-like middle
section, expressing the
dismay after the quake,
which is soon followed up
by an emotionally ending.
The piece contains
challenges for every
instrument and is
well-suited for more
experienced groups. Amid
the Great Displace is a
fantastic choice for
concert or contest and
will be inspiring
programming for your
students and
audiences.
About C.L.
Barnhouse Spotlight
Series
The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments
Chorus (with soloists) and piano (solos: SATB - choir: SATB - 2.2.chal.0(2) - 2....(+)
Chorus (with soloists)
and piano (solos: SATB -
choir: SATB -
2.2.chal.0(2) - 2.2.0.0.
- timp - theorbe - str)
SKU: BR.EB-8913
Urtext. Composed
by Jan Dismas Zelenka.
Edited by David Erler.
Arranged by Andreas Kohs.
Choir; stapled. Edition
Breitkopf.
Royal
Funeral Music
Requiem; Baroque.
Piano/Vocal Score. 80
pages. Breitkopf and
Haertel #EB 8913.
Published by Breitkopf
and Haertel (BR.EB-8913).
ISBN 9790004185797.
7.5 x 10.5
inches.
For the
funeral rites after the
death of King Augustus I.
of Saxony (Augustus the
Strong), Zelenka composed
the Requiem in D (ZWV 46)
and the Officium
Defunctorum (ZWV 47),
both integral parts of
the exequies for the
Saxon-Polish ruler.
Zelenka had to finish
this work in a great
hurry, and implemented -
suitable to the occasion
- an impressing abundance
of sound colors and
inventiveness: muted
trumpets and horns,
chalumeau, obligate
fagotti as well as
extremely virtuoso solo
parts and fully developed
counterpoints in the
choral settings. With the
present Urtext edition
David Erler is closing
one of the last gaps in
the series of large-scale
sacred works of Zelenka
in Breitkopf & Hartel's
catalog. Have a look into
the piano vocal
score.
Urtext. Composed
by Jan Dismas Zelenka.
Edited by David Erler.
Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Royal Funeral
Music
Requiem;
Baroque. Part. 12 pages.
Breitkopf and Haertel #OB
5593-19. Published by
Breitkopf and Haertel
(BR.OB-5593-19).
ISBN
9790004344330. 10 x 12.5
inches.
For the
funeral rites after the
death of King Augustus I.
of Saxony (Augustus the
Strong), Zelenka composed
the Requiem in D (ZWV 46)
and the Officium
Defunctorum (ZWV 47),
both integral parts of
the exequies for the
Saxon-Polish ruler.
Zelenka had to finish
this work in a great
hurry, and implemented -
suitable to the occasion
- an impressing abundance
of sound colors and
inventiveness: muted
trumpets and horns,
chalumeau, obligate
fagotti as well as
extremely virtuoso solo
parts and fully developed
counterpoints in the
choral settings. With the
present Urtext edition
David Erler is closing
one of the last gaps in
the series of large-scale
sacred works of Zelenka
in Breitkopf & Hartel's
catalog.Have a look into
the piano vocal
score.
Urtext. Composed
by Jan Dismas Zelenka.
Edited by David Erler.
Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Royal Funeral
Music
Requiem;
Baroque. Part. 20 pages.
Breitkopf and Haertel #OB
5593-15. Published by
Breitkopf and Haertel
(BR.OB-5593-15).
ISBN
9790004344316. 10 x 12.5
inches.
For the
funeral rites after the
death of King Augustus I.
of Saxony (Augustus the
Strong), Zelenka composed
the Requiem in D (ZWV 46)
and the Officium
Defunctorum (ZWV 47),
both integral parts of
the exequies for the
Saxon-Polish ruler.
Zelenka had to finish
this work in a great
hurry, and implemented -
suitable to the occasion
- an impressing abundance
of sound colors and
inventiveness: muted
trumpets and horns,
chalumeau, obligate
fagotti as well as
extremely virtuoso solo
parts and fully developed
counterpoints in the
choral settings. With the
present Urtext edition
David Erler is closing
one of the last gaps in
the series of large-scale
sacred works of Zelenka
in Breitkopf & Hartel's
catalog.Have a look into
the piano vocal
score.
Urtext. Composed
by Jan Dismas Zelenka.
Edited by David Erler.
Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Royal Funeral
Music
Requiem;
Baroque. Part. 20 pages.
Breitkopf and Haertel #OB
5593-27. Published by
Breitkopf and Haertel
(BR.OB-5593-27).
ISBN
9790004344354. 10 x 12.5
inches.
For the
funeral rites after the
death of King Augustus I.
of Saxony (Augustus the
Strong), Zelenka composed
the Requiem in D (ZWV 46)
and the Officium
Defunctorum (ZWV 47),
both integral parts of
the exequies for the
Saxon-Polish ruler.
Zelenka had to finish
this work in a great
hurry, and implemented -
suitable to the occasion
- an impressing abundance
of sound colors and
inventiveness: muted
trumpets and horns,
chalumeau, obligate
fagotti as well as
extremely virtuoso solo
parts and fully developed
counterpoints in the
choral settings. With the
present Urtext edition
David Erler is closing
one of the last gaps in
the series of large-scale
sacred works of Zelenka
in Breitkopf & Hartel's
catalog.Have a look into
the piano vocal
score.