| Teaching Music through Performance in Choir, Vol. 3 Chorale GIA Publications
| | |
| Tarantella Carl Fischer
Choral Double bass voice, Piano, Viola, Violin 1, Violin 2, SATB chorus SKU: ...(+)
Choral Double bass voice,
Piano, Viola, Violin 1,
Violin 2, SATB chorus
SKU: CF.CM9735
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS. Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Selection of 100 English Folk Dance Airs Flûte à Bec [Partition] Alfred Publishing
Edited by Maude Karpeles and Kenworthy Schofield. For Recorder. Recorder - Sopra...(+)
Edited by Maude Karpeles
and Kenworthy Schofield.
For Recorder. Recorder -
Soprano or Tenor Recorder
Solo. 72 pages. Published
by Alfred Publishing.
$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Fiddler's Fakebook
Violon [Fake Book] Oak Publications
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody.
For violin. Format: fake
book. With lead melody,
chord names,
instructional text and
performance notes. Folk,
americana and british.
302 pages. 9x12 inches.
Published by Oak
Publications.
(7)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Free Pieces For Ensemble Or Chamber Ensemble Study Score Schott
Ensemble (or chamber orchestra) SKU: HL.49018708 For ensemble (or cham...(+)
Ensemble (or chamber
orchestra) SKU:
HL.49018708 For
ensemble (or chamber
orchestra). Composed
by Jorg Widmann. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Study score.
Composed 2002. 88 pages.
Duration 25'. Schott
Music #ED21057. Published
by Schott Music
(HL.49018708). ISBN
9790001175838.
8.25x11.75x0.225
inches. Jorg
Widmann dedicated 'Freie
Stucke' to his teacher
Wolfgang Rihm on his
fiftieth birthday in
2002. The ten pieces for
mixed ensemble or
orchestra are 'inspired
by the wish for
concentration and
reduction. Each piece
focusses on one sound
phenomenon (pulse,
shaking ground, noise,
monophony, overtone
structures, etc.). All
parts are locked
together, however. The
ending of each piece is
the beginning of the next
one. Thus, something
disparate becomes
something continuously
narrated.' (Jorg
Widmann)
2 (2.
auch Picc.) * 1 (auch
Engl. Hr.) * 2 (1. auch
Bassklar., 2. auch
Kb-Klar., beide auch
Pedalp.) * 1 (auch Kfg.
und Lotosfl.) - 1 * 1
(auch Lotosfl.) * 1 * 0 -
S. (I: Crot. * Lotosfl. *
Wassergong [kl. Tamt.] *
Wassergong [c']* Tamt. *
Xylorimba * gr. Tr. *
Beck. * Glsp. * 5 Woodbl.
* 2 Peking-Oper-Gongs *
Trillerpf. * hohes Tomt.
* 2 hohe Tamb. * Steel
Drum * Rototoms [chrom.]
* Buckelgongs; II: Chin.
Beck. * 5 Woodbl. *
Lotosfl. * Pedalpauke
[auch m. schwerem
20-Zoll-Ride-Beck. m.
Kuppe aufgelegt] * 5
Beck. * Xylorimba *
Peitsche * gr. Tr. *
Crot. * Trgl. * Glsp *
Flex. * Guiro *
Peking-Oper-Gong *
Trillerpf. * Rohrengl.)
(2 Spieler) - Str. (1 * 1
* 1 * 1 * 1 [Kb. mit 5.
Saite H], oder
chorisch). $64.00 - Voir plus => Acheter | | |
| Songs from Across the Water Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 5 SKU: BT.AMP-454-140 A Suite of British...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.AMP-454-140 A
Suite of British and
Irish Folk Songs.
Composed by Philip
Sparke. Elite Series.
Concert Piece. Score
Only. Composed 2017. 32
pages. Anglo Music Press
#AMP 454-140. Published
by Anglo Music Press
(BT.AMP-454-140).
English-German-French-
Dutch. Songs
from Across the Water
was commissioned by
Pennsylvania Symphonic
Winds - Phil Evans,
Founder and Director.
Phil Evans hails from the
UK and served for 25
years in the Band of HM
Royal Marines. Now
resident in the USA he
founded Pennsylvania
Symphonic Winds in 2008,
giving them the tag line
‘An American Band
with a British
Accent’, as he
wanted to combine the
best of both
countries’ band
traditions. With this in
mind, composer Philip
Sparke decided to create
a suite of British folk
songs, scored with an
American influence to
fulfil the philosophy of
the band’s tag
line. The three
movements, which are
played without a break,
are based on the
following folk
songs,which come from all
corners of the British
Isles: The Three
Ravens & The Cruiskeen
Lawn, The Lark in
the Clear Air and
The Piper o’
Dundee & Men of
Harlech.
Songs from
Across the Water werd
geschreven in opdracht
van de Pennsylvania
Symphonic Winds, waarvan
Phil Evans de oprichter
en tevens de dirigent is.
Phil Evans is geboren en
getogen in het Verenigd
Koninkrijk, hij was 25
jaar lang lid van de Band
of HM Royal Marines.
Tegenwoordig woont hij in
de VS, waar hij in 2008
de Pennsylvania Symphonic
Winds oprichtte, met als
motto ‘An American
band with a British
Accent’ (Een
Amerikaans blaasorkest
met een Brits accent),
aangezien hij de
blaasmuziektradities uit
beide landen wilde
combineren. Met dit
gegeven in zijn
achterhoofd creëerde
componist Philip Sparke
een suite van Britse
folksongs, georkestreerd
met een Amerikaanse
invloedom de filosofie
achter het eerdergenoemde
motto eer aan te doen. De
drie delen, die zonder
onderbreking worden
gespeeld, zijn gebaseerd
op de volgende folksongs,
die afkomstig zijn uit
alle hoeken van de Britse
Eilanden: The Three
Ravens & The Cruiskeen
Lawn, The Lark in
the Clear Air en
The Piper o’
Dundee & Men of
Harlech.
Songs from
Across the Water
wurde von den
Pennsylvania Symphonic
Winds in Auftrag gegeben,
deren Gründer und
Leiter Phil Evans ist.
Phil Evans stammt aus dem
Vereinigten Königreich
und spielte 25 Jahre lang
im Blasorchester der HM
Royal Marines. Inzwischen
lebt er in den USA und
gründete 2008 die
Pennsylvania Symphonic
Winds, denen er den
Beinamen An American band
with a British
Accent“ (Ein
amerikanisches
Blasorchester mit einem
britischen Akzent“)
gab, da er das Beste aus
der
Blasorchester-Tradition
beider Länder
miteinander vereinen
wollte. Aus diesem Grund
hat der Komponist Philip
Sparke eine Suite aus
britischen Volksliedern
komponiert, wobei
dieInstrumentierung einen
amerikanischen Einfluss
hat, um so die
Philosophie des
Orchesterbeinamens zu
verwirklichen. Die drei
Sätze, die ohne Pause
gespielt werden, basieren
auf den folgenden
Volksliedern, die aus
allen Gegenden der
britischen Inseln
stammen: The Three
Ravens & The Cruiskeen
Lawn, The Lark in
the Clear Air sowie
The Piper o’
Dundee & Men of
Harlech.
Songs from
Across the Water est
une commande du
Pennsylvania Symphonic
Winds et de Phil Evans,
fondateur et directeur.
Phil Evans est originaire
du Royaume-Uni où il a
joué dans
l’orchestre des HM
Royal Marines pendant 25
ans. Vivant désormais
aux Etats-Unis, il y a
fondé le Pennsylvania
Symphonic Winds en 2008
et lui a donné le
slogan « un orchestre
américain
l’accent
britannique »,
aspirant combiner les
meilleures traditions
d’harmonies des
deux pays. Avec cette
idée l’esprit,
le compositeur Philip
Sparke a décidé de
créer une suite de
chansons folkloriques
britanniques,
orchestrées
l’influence
américaine en rapport
avec la philosophie du
groupe. Les
troismouvements qui
s’enchaînent
reposent sur les trois
chansons folkloriques
suivantes, qui viennent
de tous les coins des
ÃŽles Britanniques :
The Three Ravens & The
Cruiskeen Lawn,
The Lark in the Clear
Air et The Piper
o’ Dundee & Men of
Harlech. $34.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Interludes Complete for Solo Flute and Wind Band Orchestre d'harmonie Metropolis Music Publishers
Flute Solo and Wind Band SKU: IS.FB6813EM Composed by Francois Glorieux. ...(+)
Flute Solo and Wind Band
SKU: IS.FB6813EM
Composed by Francois
Glorieux. Arranged by
Pieter Nieva. Woodwinds -
Flute. The Music of
Francois Glorieux.
Metropolis Music
Publishers #FB6813EM.
Published by Metropolis
Music Publishers
(IS.FB6813EM). ISBN
9790365068135. Fran
çois Glorieux was born
in Belgium in 1932, and
acclaimed throughout
Europe, the USA, Latin
America, Canada, Japan,
China, the Middle East
and Africa. He is one of
the most widely
accomplished and
versatile musicians
traveling the
international circuit
today: pianist composer
conductor, commentator,
entertainer, honorary
professor of chamber
music at the Royal Music
Conservatory of Ghent and
guest professor at Yale
University (USA). His
particular art was the
rare one of improvisation
presented in five
languages. Glorieux
practices all musical
styles and has been
highly considered by
great artists such as
André Cluytens, Arthur
Rubinstein, Yves Nat,
Hiroyuki Iwaki, Enrique
Jorda, Raphael
Frühbeck de Burgos,
but also Michael Jackson,
Stan Kenton, Stéphane
Grappelli, Paul
McCartney, Toots
Thielemans, Jacky
Collins, Annie Girardot,
Dionne Warwick, A.C.
Jobim, and so on. $218.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Bluegrass Overture Orchestre d'harmonie - Intermédiaire Anglo Music
Concert Band (Score) - Grade 5 SKU: HL.44012906 For Concert Band (Scor...(+)
Concert Band (Score) -
Grade 5 SKU:
HL.44012906 For
Concert Band (Score
Only). Composed by
Philip Sparke. Anglo
Music Concert Band.
Opening Pieces.
Softcover. Composed 2017.
32 pages. Anglo Music
Press #AMP447140.
Published by Anglo Music
Press (HL.44012906).
UPC: 840126916560.
10.75x14.0x0.035 inches.
English-German-French-Dut
ch. A Bluegrass
Overture was
commissioned by Gabriel
Wooley and funded by a
grant from Leslie and
Cathy Anderson for the
Central Kentucky Concert
Band to celebrate their
40th anniversary in 2016.
This energetic overture
opens with an
introduction loosely
based on 'bluegrass'
chords before a slower,
legato chorale appears in
the clarinets and flutes.
This is short-lived and
soon a new mood is
introduced, based on a
repeated-note
accompaniment. This leads
to the main theme,
heavily syncopated with
bluesy inflections. A
central section features
a cantabile melody, which
changes key frequently,
before the main theme
reappears, leading to a
triumphal presentation of
the earlierchorale
melody.
A
Bluegrass Overture is
geschreven voor de
Central Kentucky Concert
Band ter gelegenheid van
hun veertigjarig bestaan
in 2016. De opdracht komt
van Gabriel Wooley en is
gefinancierd door een
gift van Leslie en Cathy
Anderson. Deze energieke
ouverture opent met
bluegrass-akkoorden,
waarna in de klarinetten
en fluiten een langzamer,
legato koraal naar voren
komt. Het wordt al snel
gevolgd door een nieuw
sfeerbeeld, dat is
gebaseerd op een
begeleiding van herhaalde
noten. Hier komt het
hoofdthema uit voort, dat
zwaar gesyncopeerd is en
bluesachtige invloeden
laat horen. In het
middengedeelte klinkt een
zangerige melodie met
frequente modulaties,
waarna hethoofdthema weer
opduikt en ons meevoert
naar een glorierijke
presentatie van de eerder
gespeelde koraalmelodie.
A Bluegrass
Overture wurde von
Gabriel Wooley anlasslich
des 40-jahrigen Jubilaums
der Central Kentucky
Concert Band im Jahre
2016 in Auftrag gegeben
und von Leslie und Cathy
Anderson finanziell
unterstutzt. Diese
energiegeladene Ouverture
beginnt mit einer
Einleitung mit lockeren
Bluegrass-Akkorden, bevor
ein langsamer Choral im
Legato in den Klarinetten
und Floten erklingt. Das
ist jedoch nur von kurzer
Dauer, denn schon bald
wird durch eine
Begleitung mit
repetierten Noten eine
neue Stimmung erzeugt.
Dies fuhrt schliesslich
zum Hauptthema mit
deutlichen Synkopen und
Blues-Modulationen. Die
zentrale Passage zeichnet
sich durch eine kantable
Melodie aus, die
haufigdie Tonart
wechselt, bevor das
Hauptthema wiederkehrt
und zu einer triumphalen
Prasentation der
vorherigen Choralmelodie
hinleitet.
A
Bluegrass Overture
fut commande par Gabriel
Wooley et finance par une
bourse de Leslie et Cathy
Anderson pour la
celebration du 40e
anniversaire du Central
Kentucky Concert Band en
2016. Cette ouverture
energique debute par une
introduction basee
vaguement sur les accords
de bluegrass, puis un
court choral plus lent et
plus legato apparait chez
les clarinettes et
flutes. Bientot un
changement d'atmosphere
se produit, base sur un
accompagnement de motifs
de notes repetees. Ceci
nous mene au theme
principal, tres syncope,
aux inflexions de blues.
La section du milieu
comprend une melodie
lyrique qui change de
tonalite frequemment,
avant que le retour du
theme principal nousmene
a une presentation
triomphale de la melodie
de choral entendue plus
tot.
Questa
ouverture energica si
apre con una introduzione
dal movimento ampio
caratterizzata da accordi
in stile bluegrass prima
di un corale lento e
legato affi dato ai
clarinetti e ai flauti,
di breve durata, e presto
sostituito da una nuova
atmosfera, scandita da un
accompagnamento con note
ribattute. Questo conduce
a un tema principale,
molto sincopato, con
inflessioni blues. Una
sezione centrale dalla
melodia cantabile che
cambia spesso tonalita
anticipa la ricomparsa
del tema principale, che
conduce a sua volta a una
trionfale riproposizione
della melodia corale. $30.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Chorale and Variations Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-056-010 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.AMP-056-010
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2003.
Anglo Music Press #AMP
056-010. Published by
Anglo Music Press
(BT.AMP-056-010).
As the title
suggests, this piece
comprises a set of
variations on an original
chorale,which is
presented in the opening
bars.The chorale uses the
dark middle and lower
sections of the band and
is extended with minor
variations until a pause
leads to the first real
variation, marked Vivo.
This is in the form of a
moto perpetuo. The second
variation is a beautiful
Andante introduced by a
solo clarinet. Following
a full band climax the
final variation opens
with quiet, nervous
energy until its main
theme is introduced.The
chorale makes a brief
appearance until the main
theme reappears. This
leads to a triumphant
final augmented statement
of the chorale theme,
decorated by theflorid
clarinet theme in the
upper woodwinds. A
dazzling new concert
work.
Zoals de
titel al aangeeft,
bestaat het stuk uit een
aantal variaties op een
oorspronkelijk koraal,
dat aan het begin wordt
ge ntroduceerd. Het
koraal, stevig verankerd
in c mineur, komt naar
voren in de donkere
midden- en lage
sectiesvan het orkest en
wordt uitgebouwd met
variaties in mineur,
totdat een korte pauze de
overgang vormt naar de
eerste echte variatie,
Vivo getiteld. Dit is een
moto perpetuo. De tweede
variatie, een krachtige
Andante, introduceerteen
soloklarinet. Na een
climax in het hele orkest
vangt de laatste variatie
aan met een stille,
nerveuze energie totdat
het hoofdthema naar voren
komt. Het koraal duikt
even op totdat het
hoofdthema weer
verschijnt. Dit leidtnaar
een glorierijke laatste
reprise van het
koraalthema in
verbreding, omspeeld met
het zwierige
klarinetthema in het hoge
hout. Een verbluffend
nieuw
concertwerk.
In
drei sehr
unterschiedlichen
Variationen kommen in
diesem Werk alle Register
des Blasorchesters zum
Zug: Die mittleren und
tieferen Register stellen
den originalen Choral in
Moll vor, darauf folgt
die erste, lyrische
Variation im
Tenorregister. Eine
Solo-Klarinette
präsentiert die
metrische zweite
Variation, abgelöst
vom gesamten
Blasorchester. Die hohen
Holzbläser spielen
eine wichtige Rolle in
der dritten Variation,
die zunächst verhalten
einsetztt, dann aber das
Werk zu einem
triiumphalen Schluss
führt. Ein
interessantes Werk, das
keine Wünsche bei
Musikern oder Zuhörern
offen
lässt!
Chorale
and Variations est une
oeuvre de commande pour
l’École
Intercommunale de Gaillon
Aubevoye en France (Dir.
: Thierry Patel). Cette
pièce est
structurée selon la
forme du choral suivi de
trois variations sur le
thème. Ancré dans
la tonalité de Do
mineur, le choral se
développe dans les
registres médium et
grave de
l’orchestre puis
est élargi avec une
succession de variations
lyriques, florissantes,
triomphantes et
ornementées. $271.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chorale and Variations Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-056-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.AMP-056-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2003. 56 pages.
Anglo Music Press #AMP
056-140. Published by
Anglo Music Press
(BT.AMP-056-140).
As the title
suggests, this piece
comprises a set of
variations on an original
chorale,which is
presented in the opening
bars.The chorale uses the
dark middle and lower
sections of the band and
is extended with minor
variations until a pause
leads to the first real
variation, marked Vivo.
This is in the form of a
moto perpetuo. The second
variation is a beautiful
Andante introduced by a
solo clarinet. Following
a full band climax the
final variation opens
with quiet, nervous
energy until its main
theme is introduced.The
chorale makes a brief
appearance until the main
theme reappears. This
leads to a triumphant
final augmented statement
of the chorale theme,
decorated by theflorid
clarinet theme in the
upper woodwinds. A
dazzling new concert
work.
Zoals de
titel al aangeeft,
bestaat het stuk uit een
aantal variaties op een
oorspronkelijk koraal,
dat aan het begin wordt
ge ntroduceerd. Het
koraal, stevig verankerd
in c mineur, komt naar
voren in de donkere
midden- en lage
sectiesvan het orkest en
wordt uitgebouwd met
variaties in mineur,
totdat een korte pauze de
overgang vormt naar de
eerste echte variatie,
Vivo getiteld. Dit is een
moto perpetuo. De tweede
variatie, een krachtige
Andante, introduceerteen
soloklarinet. Na een
climax in het hele orkest
vangt de laatste variatie
aan met een stille,
nerveuze energie totdat
het hoofdthema naar voren
komt. Het koraal duikt
even op totdat het
hoofdthema weer
verschijnt. Dit leidtnaar
een glorierijke laatste
reprise van het
koraalthema in
verbreding, omspeeld met
het zwierige
klarinetthema in het hoge
hout. Een verbluffend
nieuw
concertwerk.
In
drei sehr
unterschiedlichen
Variationen kommen in
diesem Werk alle Register
des Blasorchesters zum
Zug: Die mittleren und
tieferen Register stellen
den originalen Choral in
Moll vor, darauf folgt
die erste, lyrische
Variation im
Tenorregister. Eine
Solo-Klarinette
präsentiert die
metrische zweite
Variation, abgelöst
vom gesamten
Blasorchester. Die hohen
Holzbläser spielen
eine wichtige Rolle in
der dritten Variation,
die zunächst verhalten
einsetzt, dann aber das
Werk zu einem
triiumphalen Schluss
führt. Ein
interessantes Werk, das
keine Wünsche bei
Musikern oder Zuhörern
offen
lässt!
Chorale
and Variations est une
oeuvre de commande pour
l’École
Intercommunale de Gaillon
Aubevoye en France (Dir.
: Thierry Patel). Cette
pièce est
structurée selon la
forme du choral suivi de
trois variations sur le
thème. Ancré dans
la tonalité de Do
mineur, le choral se
développe dans les
registres médium et
grave de
l’orchestre puis
est élargi avec une
succession de variations
lyriques, florissantes,
triomphantes et
ornementées. $35.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Missa Dei Filii ZWV 20 Breitkopf & Härtel
Woodwinds (solos: SATB - choir: SATB - 0.2.0.1. - 0.0.0.0. - str - bc) SKU: B...(+)
Woodwinds (solos: SATB -
choir: SATB - 0.2.0.1. -
0.0.0.0. - str - bc)
SKU: BR.OB-5565-30
Urtext. Composed
by Jan Dismas Zelenka.
Edited by Paul und
Wolfgang Horn. Folder.
Orchester-Bibliothek
(Orchestral Library).
Mass; Baroque. Set of
parts. 52 pages. Duration
50'. Breitkopf and
Haertel #OB 5565-30.
Published by Breitkopf
and Haertel
(BR.OB-5565-30). ISBN
9790004342763. 10 x 12.5
inches. Jan Dismas
Zelenka's Missa Dei Filii
is the second of three
transmitted Missae
ultimae, but consists,
like other short masses
of the 18th century,
solely of a Kyrie and
Gloria. Nevertheless, it
is an extensive work, and
the lengthy, multipartite
Gloria is considered as
the most impressive
Gloria setting that
Zelenka created in his
over 20 masses. What
remains to be answered is
whether Zelenka had
originally planned a
complete mass
composition.The full
score and the piano vocal
score are based on volume
100 of the Denkmaler
edition Das Erbe
deutscher Musik, in which
the gaps in the musical
text found in the
autograph towards the end
of the Gloria were
cautiously supplemented.
Zelenka's artistic
personality, his
biography and his
compositional style are
utterly distinctive. His
style is highly
experimental. Was Zelenka
really one of the
greatest composers of the
18th century, or only one
of the most interesting?
I think that he still has
several surprises for us.
(Schweizerische
Musikzeitung)Zelenka's
Masses - fine specimens
of Baroque choral
literature, some parts of
which are set even more
colorfully than in the
corresponding
compositions by Bach.
(Die Welt). $68.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Happy Joyous Hanuka Chorale 3 parties SAB Hal Leonard
((Derivative Work of How Many Nights for Hanuka)). By Klezmatics. By Lorin Sklam...(+)
((Derivative Work of How
Many Nights for Hanuka)).
By Klezmatics. By Lorin
Sklamberg and Woody
Guthrie. Arranged by Mac
Huff. For Choral,
Clarinet (SAB). Choral.
16 pages. Published by
Hal Leonard
$2.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Happy Joyous Hanuka Chorale 2 parties 2 parties, Piano Hal Leonard
(Derivative Work of How Many Nights for Hanuka). By Klezmatics. By Lorin Skla...(+)
(Derivative Work of How
Many
Nights for Hanuka). By
Klezmatics. By Lorin
Sklamberg and Woody
Guthrie.
Arranged by Mac Huff.
Choral.
Chanukah, Hanukkah,
Klezmer.
Octavo. 16 pages.
Published
by Hal Leonard
$2.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Happy Joyous Hanuka Chorale [CD] Hal Leonard
((Derivative Work of How Many Nights for Hanuka)). By Klezmatics. By Lorin Sklam...(+)
((Derivative Work of How
Many Nights for Hanuka)).
By Klezmatics. By Lorin
Sklamberg and Woody
Guthrie. Arranged by Mac
Huff. For Choral
(ShowTrax CD). Choral. CD
only. Published by Hal
Leonard
$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Happy Joyous Hanuka Chorale SATB Hal Leonard
((Derivative Work of How Many Nights for Hanuka)). By Klezmatics. By Lorin Sklam...(+)
((Derivative Work of How
Many Nights for Hanuka)).
By Klezmatics. By Lorin
Sklamberg and Woody
Guthrie. Arranged by Mac
Huff. For Choral,
Clarinet (SATB). Choral.
16 pages. Published by
Hal Leonard
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Favorite Classical Themes Piano seul [Partition] - Facile Hal Leonard
For solo piano. Format: piano solo book. Baroque, classical period and romantic ...(+)
For solo piano. Format:
piano solo book. Baroque,
classical period and
romantic period. Series:
The World's Great
Classical Music. 224
pages. 9x12 inches.
Published by Hal Leonard.
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ryan's Mammoth Collection of Fiddle Tunes Violon [Partition] Mel Bay
Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Son...(+)
Edited by Patrick Sky.
For fiddle. All styles.
Level: Multiple Levels.
Book. Songbook. Size
8.75x11.75. 176 pages.
Published by Mel Bay
Pub., Inc.
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Slavonic Dance No. 8 in G Minor Ensemble de Percussions [Conducteur et Parties séparées] Row-Loff Publications
By Antonin Dvorak (1841-1904). Arranged by John R. Hearnes. Concert Ensemble. Fo...(+)
By Antonin Dvorak
(1841-1904). Arranged by
John R. Hearnes. Concert
Ensemble. For percussion
ensemble (13 players:
Bells, Xylophone, (2)
Vibes, (2) Marimbas (1, 4
octave, 1, 4 1/2 octave),
(2) Timpani (26 , 29 ),
Chimes, Snare Drum, (2)
Tambourines, Claves, Bass
Drum, Crash Cymbals, Mark
Tree, Triangle, Wood
Block, Suspended Cymbal).
Florida State Solo and
Ensemble List. 5. Score
and parts. Duration 3:52.
Published by Row-Loff
Publications
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Millennium Ensemble de Percussions [Conducteur et Parties séparées] Row-Loff Publications
By Chris Brooks. Concert Ensemble. For Bells, Xylophone, Marimba, Vibes, (4) Tim...(+)
By Chris Brooks. Concert
Ensemble. For Bells,
Xylophone, Marimba,
Vibes, (4) Timpani, Snare
Drum, (4) Concert Toms,
Bass Drum, Crash Cymbals,
Wood Block, Shaker,
Guiro, (3) Temple Blocks,
Suspended Cymbal, Pang
Cymbal, Triangle. Florida
State Solo and Ensemble
List, Indiana State Solo
and Ensemble List, Texas
State Solo and Ensemble
List. Duration 3:03.
Published by Row-Loff
Publications. Level:
3.
$45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Entertainer Ensemble de Percussions [Conducteur et Parties séparées] Row-Loff Publications
Arranged by Edward Freytag. Concert Ensemble. For Bells, Xylophone, Marimba (opt...(+)
Arranged by Edward
Freytag. Concert
Ensemble. For Bells,
Xylophone, Marimba
(optional), Snare Drum,
Tenor Drum, Crash
Cymbals, Bass Drum, (3)
Timpani, Tambourine, Wood
Block, Siren Whistle.
Florida State Solo and
Ensemble List, Texas
State Solo and Ensemble
List, Virginia State Solo
and Ensemble List. 1.
Duration 1:56
(1)$35.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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