Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
Accomp CD SKU: HP.9163 Composed by Pepper Choplin. Accompaniment CD. Hope...(+)
Accomp CD
SKU:
HP.9163
Composed by
Pepper Choplin.
Accompaniment CD. Hope
Publishing Company #9163.
Published by Hope
Publishing Company
(HP.9163).
UPC:
763628191634. Pepper
Choplin.
Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction.
Voice-Dominant SA/TB Rehearsal CDs SKU: HP.9169 Composed by Pepper Chopli...(+)
Voice-Dominant SA/TB
Rehearsal CDs
SKU:
HP.9169
Composed by
Pepper Choplin. Listening
CD. Hope Publishing
Company #9169. Published
by Hope Publishing
Company (HP.9169).
UPC: 763628191696.
Pepper
Choplin.
Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction.
Value Pack (10 listening CDs) SKU: HP.9167 Composed by Pepper Choplin. Va...(+)
Value Pack (10 listening
CDs)
SKU: HP.9167
Composed by Pepper
Choplin. Value pack (10
listening CDs). Hope
Publishing Company #9167.
Published by Hope
Publishing Company
(HP.9167).
UPC:
763628191672. Pepper
Choplin.
Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction.
Cello, Clarinet, Flute,
French Horn, Piano,
Trombone, Trumpet, Violin
SKU: HP.9161
Composed by Pepper
Choplin. Musicals for
Adults. Ash Wednesday,
Lent, Palm Sunday, Holy
Week, Maundy Thursday,
Good Friday, Easter
Sunday, Jesus Christ -
Cross, Jesus Christ -
Death, Jesus Christ -
Redeemer, Jesus Christ -
Resurrection, Jesus
Christ - Savior. Choral
score. 92 pages. Hope
Publishing Company #9161.
Published by Hope
Publishing Company
(HP.9161).
UPC:
763628191610. Pepper
Choplin.
Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction.
Listening CD SKU: HP.9162 Composed by Pepper Choplin. Listening CD. Hope ...(+)
Listening CD
SKU:
HP.9162
Composed by
Pepper Choplin. Listening
CD. Hope Publishing
Company #9162. Published
by Hope Publishing
Company (HP.9162).
UPC: 763628191627.
Pepper
Choplin.
Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction.
Split-Track Accomp CD SKU: HP.9164 Composed by Pepper Choplin. Accompanim...(+)
Split-Track Accomp CD
SKU: HP.9164
Composed by Pepper
Choplin. Accompaniment
CD. Hope Publishing
Company #9164. Published
by Hope Publishing
Company (HP.9164).
UPC: 763628191641.
Pepper
Choplin.
Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction.
Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Cl...(+)
Trombone and Piano -
Advanced
SKU:
CY.CC3136
Composed by
John W. Ware. Classical.
Score and Parts. Cherry
Classics #CC3136.
Published by Cherry
Classics (CY.CC3136).
ISBN 9790530111055.
8.5 x 11 in
inches.
This fine
work has sat dormant for
many years and has now
come to light thanks to
the efforts of Charlie
Vernon, Bass Trombonist
of the Chicago Symphony,
who performed this
virtuoso work as a young
performer. The concerto
is in the standard three
movement form: Fast,
slow, fast. This
publication is a
reduction from the
original orchestral
version (to be released
at some point in the
future). Here is a
description of the
Concerto by the composer,
John W. Ware. I started
on the trombone concerto
in my junior year
studying composition at
Indiana University. While
working on it, I learned
of an opportunity to make
it sort of a thesis piece
(though students didn't
write a thesis in
composition while an
undergrad). The original
version was for trombone
with string orchestra,
and it was performed by
the IU String Orchestra,
conducted by Dr. Arthur
Corra, with Robert Priez,
trombone, as part of my
senior composition
recital. I thought the
performance was quite
good (Priez played
extraordinarily well),
and the piece received a
newspaper review in the
Indiana Daily Student, in
which the reviewer wrote
that the work was almost
too exciting. I thought
at the time that he had
given me and my music a
fine compliment. I made a
piano version of the
accompaniment, shortening
and tightening the first
movement, for
performances in 1966; I
made a second revision in
1967 for a performance by
E. J. Eaton, trombonist
at the University of
Tennessee at Martin,
arriving at the form in
which the work exists
now. The first movement
is in fairly normal
sonata-allegro form, in
the key of A minor. It
alternates between
assertive and more
thoughtful moods. There
is no introduction; the
soloist enters
immediately and dominates
much of the movement. The
main theme is--by some
manipulation--a source
for most of the other
themes, and all of the
themes are used in close
proximity to each other,
including contrapuntal
combinations, especially
near the end. Originally
the movement included a
lengthy fugato, now much
shortened and including a
stretto that builds and
subsides before a cadenza
leading to a coda based
on both the principal and
secondary themes. Key
relations in this
movement, as in the other
two, are quite free and
often chromatic, with
frequent third-relations;
but returns to the tonic
at the end are emphatic.
The writing is
challenging for both
soloist and accompanist;
the piece is substantial,
requiring technique and
stamina. The second
movement is in F minor
and is also built on both
contrast and close
relationships between the
main and secondary
themes. The main theme is
heard in the piano part
before the soloist
enters. The mood is more
lyric than in the first
movement, but with
dramatic episodes also.
In this movement are some
definite derivations from
themes in the first
movement. The ending is a
sort of lengthened shadow
of the opening. The
finale returns to A
minor, with themes
slightly related to
polonaise rhythms, but
with strong echoes of
first-movement themes.
Here, too, dramatic and
lyric episodes alternate,
with dotted rhythms
frequently propelling the
music forward. The
introduction is a brief
and simple preparation
for the solo entry. Later
in the movement, a very
brief, slightly slower
section is soon overtaken
by the original tempo.
Toward the end, there is
a second cadenza, again
leading to a swift and
energetic coda. The work
is about 20 minutes in
length and is appropriate
for advanced
performers.
Memories Clarinette et Piano Music Distribution Services
Clarinet and piano SKU: M7.DOHR-88835 Concertino. Composed by Adri...(+)
Clarinet and piano
SKU: M7.DOHR-88835
Concertino.
Composed by Adrian
Connell. Sheet music.
Score and part. Duration
10'. MDS (Music
Distribution Services)
#DOHR 88835. Published by
MDS (Music Distribution
Services)
(M7.DOHR-88835).
ISBN
9790202098356.
Ther
e comes a time in life
when your parents have
passed on. What we are
left with is the memories
of their love, guidance,
support, and the happy
times together. Last
August when my mum sadly
passed away, I wrote an
Elegy as part of my
grieving. However, as a
family we had happy times
together and it seemed
only right to compose a
work which would
celebrate this. So, I
added a first and last
movement to create a
short concertino. The
movements are: Prelude:
Peter John Connell: The
Cheeky Chap Elegy: Mavis
June Connell (Time To
Remember) Rondo: Family
Fun (Adrian Connell)
Performance note A
version with
accompaniment of string
orchestra and Harp is
also available (E.D.
88833). This version for
clarinet and piano is
also the piano reduction
of that version.
Edited by J. Peter Close/Holger Sassmannshaus. For double bass and piano. Staple...(+)
Edited by J. Peter
Close/Holger
Sassmannshaus. For double
bass and piano. Stapled.
Barenreiter's Double Bass
Collection. Level 2.
Piano reduction, part(s).
Text Language:
German/English. 32/64
pages. Published by
Baerenreiter Verlag
Orchestra violin, piano SKU: CF.B3470 Composed by Julia Perry. Set of Sco...(+)
Orchestra violin, piano
SKU: CF.B3470
Composed by Julia Perry.
Set of Score and Parts.
26+13 pages. Duration 17
minutes. Carl Fischer
Music #B3470. Published
by Carl Fischer Music
(CF.B3470).
ISBN
9781491159460. UPC:
680160918058.
The
awardee of two Guggenheim
fellowships, Julia Perry
studied composition with
Luigi Dallapiccola and
Nadia Boulanger, and
conducted her works on a
tour throughout Europe
with the Vienna
Philharmonic and the BBC
Orchestra. She would
become one of the first
African-American female
composers to have an
orchestral work performed
by the New York
Philharmonic. Although
she had an auspicious and
promising career in her
early life, it was
tragically cut short by a
series of strokes leading
to partial paralysis and
eventually, her death, at
age 55 in
1979.Perry’s
catalog is widely varied,
featuring thirteen
symphonies, numerous
chamber and solo works,
pieces for band, choral
and vocal music, and four
operas. Her Violin
Concerto, completed in
1968, shows the influence
of Dallapiccola’s
teachings: sharp harmonic
dissonances organized
around specific pitch
centers, short repetitive
patterns that establish
significant musical
materials, and
contrapuntal textures.
Her fastidious
performance markings in
the solo violin part
indicate her profound
understanding of the
instrument. Angular,
muscled, and sparkling by
turns, this piece is a
sophisticated entry to
the serious violinist's
concert repertoire.There
is no evidence or
documentation that the
Violin Concerto was ever
premiered or performed
during her lifetime,
despite the fact that the
composer prepared a full
score, piano reduction
and orchestral parts.
Regrettably, this is the
case with the majority of
her works composed in the
final decade of her
life. What is
extraordinary about Julia
Perry’s musical
career was the
astonishing success she
attained in her early
years. In her youth she
studied piano, voice,
violin and cello. She
began to compose in her
teenage years, her first
publication being a
choral work in 1947 by
Carl Fischer. Her Stabat
Mater was published in
1951 and would become one
of her most often
performed pieces, with
performances in Europe
and the United States. In
1953 she was awarded a
Guggenheim fellowship to
study with the Italian
composer Luigi
Dallapiccola, first at
the Berkshire Music
Center in Tanglewood,
later in Florence, Italy.
During this time, she
also pursued studies with
Nadia Boulanger in Paris
and was awarded a second
Guggenheim fellowship.
She studied conducting at
this time, touring Europe
in 1957 to conduct her
own works with the Vienna
Philharmonic and the BBC
Orchestra. During her
European sojourns, she
learned and mastered
French, German and
Italian. She would become
one of the first
African-American female
composers to have an
orchestral work performed
by the New York
Philharmonic.Perryâ€
s circumstances would
change dramatically once
she reached forty years
of age, having returned
permanently to the United
States. At some point in
the spring of 1970, she
suffered the first of two
strokes that would
paralyze her right side
and confine her to a
wheelchair for the rest
of her life. Nonetheless,
she continued to compose
and to promote her works
with publishers and
conductors. A second
stroke contributed to her
death in 1979 at age 55.
She likely endured harsh
ethnic and gender
discrimination in the
course of her career, and
her later years would
witness a period of
extreme civil unrest.
These matters and the
significance of music in
her life are undoubtedly
what led her to say,
“Music has a great
role to play in
establishing the
brotherhood of
man.â€Perry’s
catalog is widely varied,
featuring thirteen
symphonies, numerous
chamber and solo works,
pieces for band, choral
and vocal music, and four
operas. Her Violin
Concerto, completed in
1968, is indicative of
the influence of
Dallapiccola’s
teachings: sharp harmonic
dissonances organized
around specific pitch
centers, short repetitive
patterns that establish
significant musical
materials, and
contrapuntal textures.
The work is a single
movement of 392 measures
organized around three
alternating tempos: Slow
(Å’ = 60), Moderate
(Å’ = 84) and Fast
(Å’ = 120). The
opening thirty-measure
cadenza for the solo
violin introduces most of
the thematic material for
the piece. The
orchestration commonly
features antiphonal
writing between
orchestral groups, for
example, strings
alternating with brass,
or strings alternating
with winds. The harp and
piano generally appear as
solo instruments, rather
than as members of the
orchestra. Her fastidious
performance markings in
the solo violin part
indicate her profound
understanding of the
instrument.There is no
evidence or documentation
that the Violin Concerto
was ever premiered or
performed during her
lifetime, despite the
fact that the composer
prepared a full score,
piano reduction and
orchestral parts.
Regrettably, this is the
case with the majority of
her works composed in the
final decade of her
life.
Twelve Concertos for
Violin, Strings and Basso
continuo. Composed by
Antonio Vivaldi. Edited
by Bettina Schwemer. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Volume II:
Concertos VII-XII. Score,
anthology. Opus 4.
Baerenreiter Verlag
#BA07567_00. Published by
Baerenreiter Verlag
(BA.BA07567).
ISBN
9790006544097. 31 x 24.3
cm inches. Preface:
Schwemer,
Bettina.
Antonio
Vivaldi’s twelve
concertos op. 4 known by
the name of “La
Stravaganza†were
first mentioned as a
collection of
“Concerti a
4†in the 1711
Foreword of
“L’Estro
Armonico†op. 3.
Their publication had to
wait until 1716, when
Estienne Roger issued
them in two volumes of
six concertos each.
However, unlike the
original announcement,
“La
Stravaganza†is
more than a collection of
concertos for solo violin
with string
accompaniment: in five of
the concertos the soloist
is joined by a second
solo violin or even by a
solo violoncello
(Concerto No.
7).
The many
reprints of “La
Stravaganza†bear
witness to its popularity
and widespread
dissemination well into
the 1730s. Besides the
surviving prints, there
is a significant body of
handwritten sources
containing alternative
versions for seven of the
concertos. Some of these
manuscripts stem from the
music library of Johann
Georg
Pisendel.
This
edition of “La
Stravaganza†is not
only the first
scholarly-critical
edition, it is also the
only complete edition
available. In addition to
the twelve concertos
handed down in the Roger
edition, Bärenreiter
offers an additional
concerto in full score,
piano reduction and parts
contained in the 1728
print issued by the
English publishers Walsh
& Hare, as well as
alternative versions
(without viola) found in
handwritten sources for
Concertos No. 6 (Volume
1) and No. 11 (Volume
2).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Twelve Concertos for
Violin, Strings and Basso
continuo. Composed by
Antonio Vivaldi. Edited
by Bettina Schwemer. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Volume I:
Concertos I-VI. Score,
anthology. Opus 4.
Baerenreiter Verlag
#BA07566_00. Published by
Baerenreiter Verlag
(BA.BA07566).
ISBN
9790006544066. 31 x 24.3
cm inches. Preface:
Schwemer,
Bettina.
Antonio
Vivaldiâ??s twelve
concertos op. 4 known by
the name of â??La
Stravaganzaâ? were
first mentioned as a
collection of
â??Concerti a 4â? in
the 1711 Foreword of
â??Lâ??Estro
Armonicoâ? op. 3.
Their publication had to
wait until 1716, when
Estienne Roger issued
them in two volumes of
six concertos each.
However, unlike the
original announcement,
â??La Stravaganzaâ?
is more than a collection
of concertos for solo
violin with string
accompaniment: in five of
the concertos the soloist
is joined by a second
solo violin or even by a
solo violoncello
(Concerto No.
7).
The many
reprints of â??La
Stravaganzaâ? bear
witness to its popularity
and widespread
dissemination well into
the 1730s. Besides the
surviving prints, there
is a significant body of
handwritten sources
containing alternative
versions for seven of the
concertos. Some of these
manuscripts stem from the
music library of Johann
Georg
Pisendel.
This
edition of â??La
Stravaganzaâ? is not
only the first
scholarly-critical
edition, it is also the
only complete edition
available. In addition to
the twelve concertos
handed down in the Roger
edition, Bärenreiter
offers an additional
concerto in full score,
piano reduction and parts
contained in the 1728
print issued by the
English publishers Walsh
and Hare, as well as
alternative versions
(without viola) found in
handwritten sources for
Concertos No. 6 (Volume
1) and No. 11 (Volume
2).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding