| The Spirit of God Like a Fire is Burning - Brass Quintet Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba Jackman Music Corporation
Brass Quintet - Medium SKU: JK.09159 Arranged by J. J. Keeler. Choral SAT...(+)
Brass Quintet - Medium
SKU: JK.09159
Arranged by J. J. Keeler.
Choral SATB, Instrumental
Other, Orchestral
Orchestrations, Holy
Ghost, Jesus Christ -
Second Coming, Millenium,
Praise and Worship,
Restoration, Revelation.
Christian, Inspirational.
Jackman Music Corporation
#09159. Published by
Jackman Music Corporation
(JK.09159).
Optional brass
choir packet, used as
accompaniment for the
octavo The Spirit of God
Like a Fire is Burning -
SATB (#00166) by J. J.
Keeler. (Previously
listed as
#00023) BRASS
PARTS 2 Trumpets in Bb
(Trumpet 1 & Trumpet
2) French Horn 2
Trombones (Trombone 1
& Trombone
2) Tuba
$4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tightrope Walker Merion Music
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion,
Piano, Piccolo, Timpani,
Trombone 1, Trombone 2
and more. SKU:
PR.446413400 High
Wire Act for
Orchestra. Composed
by Michael Boyman. Study
Score. With Standard
notation. Duration 8
minutes. Merion Music
#446-41340. Published by
Merion Music
(PR.446413400). UPC:
680160667406. 9 x 12
inches. Tightrope
Walker is my first piece
for full orchestra. Given
the large forces
available to me, I wanted
to write something
exciting, colorful and
visceral. I remembered
back to when I was a kid
going to see the Cirque
du Soleil. That trip made
a big impression on me,
especially the high wire
performers. These were
artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking one's
life to entertain an
audience has stayed with
me, and Tightrope Walker
is my attempt at
recreating that special
childhood experience. The
opening of the piece
hints at what's to come -
a steady, walking pulse
interrupted by missteps
in the woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes tense.
The primary themes of the
piece are presented in
fragments, most notably
the Tightrope Walker's
theme in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is restored.
We are now at the circus,
excited and expectant,
and the fragmentary
themes heard previously
are now presented in
their full forms. The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second half
of the piece depicts the
Tightrope Walker
performing for his
audience. But from the
outset, as in the
beginning of the piece,
we hear there are
problems. The pressure
mounts, the audience
clamoring for more, until
Tightrope Walker comes to
a decisive and
potentially fatal
end. Tightrope
Walker is my first
piece for full
orchestra. Given the
large forces available to
me, I wanted to write
something exciting,
colorful and
visceral. I
remembered back to when I
was a kid going to see
the Cirque du Soleil.Â
That trip made a big
impression on me,
especially the high wire
performers. These
were artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking
one’s life to
entertain an audience has
stayed with me,
and Tightrope
Walker is my attempt
at recreating that
special childhood
experience.The opening of
the piece hints at what's
to come - a steady,
walking pulse interrupted
by missteps in the
woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes
tense. The primary
themes of the piece are
presented in fragments,
most notably the
Tightrope Walker's theme
in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is
restored.We are now at
the circus, excited and
expectant, and the
fragmentary themes heard
previously are now
presented in their full
forms. Â The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second
half of the piece depicts
the Tightrope Walker
performing for his
audience. But from
the outset, as in the
beginning of the piece,
we hear there are
problems. The
pressure mounts, the
audience clamoring for
more, until Tightrope
Walker comes to a
decisive and potentially
fatal end. $43.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tightrope Walker Merion Music
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion,
Piano, Piccolo, Timpani,
Trombone 1, Trombone 2
and more. SKU:
PR.44641340L High
Wire Act for
Orchestra. Composed
by Michael Boyman. Large
Score. With Standard
notation. Duration 8
minutes. Merion Music
#446-41340L. Published by
Merion Music
(PR.44641340L). UPC:
680160667413. 11 x 17
inches. Tightrope
Walker is my first piece
for full orchestra. Given
the large forces
available to me, I wanted
to write something
exciting, colorful and
visceral. I remembered
back to when I was a kid
going to see the Cirque
du Soleil. That trip made
a big impression on me,
especially the high wire
performers. These were
artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking one's
life to entertain an
audience has stayed with
me, and Tightrope Walker
is my attempt at
recreating that special
childhood experience. The
opening of the piece
hints at what's to come -
a steady, walking pulse
interrupted by missteps
in the woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes tense.
The primary themes of the
piece are presented in
fragments, most notably
the Tightrope Walker's
theme in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is restored.
We are now at the circus,
excited and expectant,
and the fragmentary
themes heard previously
are now presented in
their full forms. The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second half
of the piece depicts the
Tightrope Walker
performing for his
audience. But from the
outset, as in the
beginning of the piece,
we hear there are
problems. The pressure
mounts, the audience
clamoring for more, until
Tightrope Walker comes to
a decisive and
potentially fatal
end. Tightrope
Walker is my first
piece for full
orchestra. Given the
large forces available to
me, I wanted to write
something exciting,
colorful and
visceral. I
remembered back to when I
was a kid going to see
the Cirque du Soleil.Â
That trip made a big
impression on me,
especially the high wire
performers. These
were artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking
one’s life to
entertain an audience has
stayed with me,
and Tightrope
Walker is my attempt
at recreating that
special childhood
experience.The opening of
the piece hints at what's
to come - a steady,
walking pulse interrupted
by missteps in the
woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes
tense. The primary
themes of the piece are
presented in fragments,
most notably the
Tightrope Walker's theme
in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is
restored.We are now at
the circus, excited and
expectant, and the
fragmentary themes heard
previously are now
presented in their full
forms. Â The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second
half of the piece depicts
the Tightrope Walker
performing for his
audience. But from
the outset, as in the
beginning of the piece,
we hear there are
problems. The
pressure mounts, the
audience clamoring for
more, until Tightrope
Walker comes to a
decisive and potentially
fatal end. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Son et lumière Merion Music
Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clari...(+)
Orchestra Bass Clarinet,
Bass Drum, Bassoon 1,
Bassoon 2, Celesta,
Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Claves, Contrabass,
Contrabassoon, Cowbell,
Crotales, English Horn,
Glockenspiel, Harp, Horn
1, Horn 2, Horn 3, Horn
4, Maracas, Marimba, Oboe
1 and more. SKU:
PR.11641737S Composed
by Steven Stucky. Study
Score. 68 pages. Duration
9 minutes. Merion Music
#116-41737S. Published by
Merion Music
(PR.11641737S). ISBN
9781491136133. UPC:
680160688432. Son
et lumière
(“sound and
light,†a kind of
show staged for tourists
at historic sites or
famous buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my
attempt, I suppose, to
achieve the rhythmic
vitality of minimalism,
but without giving in to
the over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“seriousâ€
voice, transcending the
external show of sound
and light.Son et
lumière, commissioned
by the Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony
Yaddo, in Saratoga
Springs (N.Y.). David
Zinman conducted the
first performance in
Baltimore on 18 May 1989;
André Previn gave the
West Coast premiere with
the Los Angeles
Philharmonic on 18
January, 1990. Son et
lumière (“sound
and light,†a kind
of show staged for
tourists at historic
sites or famous
buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my
attempt, I suppose, to
achieve the rhythmic
vitality of minimalism,
but without giving in to
the over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“seriousâ€
voice, transcending the
external show of sound
and light.Son et
lumière, commissioned
by the Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony
Yaddo, in Saratoga
Springs (N.Y.). David
Zinman conducted the
first performance in
Baltimore on 18 May 1989;
André Previn gave the
West Coast premiere with
the Los Angeles
Philharmonic on 18
January, 1990. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Places in New England Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Celesta, Clarinet 1, Clarinet 2, Contrabass,...(+)
Orchestra Bass Clarinet,
Bassoon 1, Celesta,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Flute 3, Harp 1, Harp 2,
Horn 1, Horn 2, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Organ, Percussion, Piano,
Piccolo, Timpani,
Trombone 1 and more.
SKU: PR.45640008L
Version 4: Original
Orchestration, restored
and edited by James
Sinclair. Composed by
Charles Ives. Arranged by
James Sinclair. Large
Score. With Standard
notation. Duration 19
minutes. Theodore Presser
Company #456-40008L.
Published by Theodore
Presser Company
(PR.45640008L). UPC:
680160496297. 11x15
inches. $130.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Koncert pro violoncello a orchestr for Violoncello and Orchestra b minor, Op. 104 Barenreiter
First flute, second flute (flute-picc), 2 oboes, first clarinet, clarinet-Ialto ...(+)
First flute, second flute
(flute-picc), 2 oboes,
first clarinet,
clarinet-Ialto second
voice, 2 bassoons, 3
horn, 2 trumpets, 3
trombones, trombone, Tri,
timpani (1. Flute, 2.
Flute (Piccolo flute),
Oboes (2), 1. Clarinet,
2. Clarinet (in A),
Bassoons (2), Horns (3),
Trumpets (2), Trombones
(3), Tuba, Triangle,
Timpani) SKU:
BA.BA09045-65
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Set of wind
parts. Opus 104.
11/7/12/7/11/8/8/8/7/6/7/
4/4/4/4/4/4/1/6 pages.
Duration 37 minutes.
Baerenreiter Verlag
#BA09045_65. Published by
Baerenreiter Verlag
(BA.BA09045-65). ISBN
9790006537655. 32.5 x
25.5 cm inches. Key: B
minor. Like every
other great 19th-century
solo concerto, Dvorak's
famous Cello Concerto was
a collaboration between
composer and virtuoso. It
has long been known that
certain solo passages in
Dvorak's autograph score
were actually written by
the cellist Hanus Wihan;
but Barenreiter's edition
now reveals that some
details in the orchestral
parts are also in his
writing, showing just how
closely the two musicians
were working
together.
The
editor Jonathan Del Mar
has painstakingly
examined all the
surviving sources,
including two that have
hitherto been either
ignored or crucially
undervalued, in order to
produce an authoritative
edition which restores -
for the first time since
the original edition was
published in 1896 -
Dvorak's final and
definitive version of the
solo cello part. This
differs, in details, in
almost every bar from the
version found in all
other modern editions,
while hundreds of
corrections have also
been made to the
orchestral
parts.
* With
Dvorak's final and
definitive version of the
solo cello part * With
hundreds of corrections
in the solo cello part as
well as the orchestral
parts * With hitherto
unknown details regarding
the collaboration between
Dvorak and Wihan *
With Dvorak's original
piano reduction * With
Feuermann's and Casals'
alternatives to a passage
in the first
movement. $131.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Clarinet Concerto in A major K. 622 Breitkopf & Härtel
Violin 1 (solo: clar - 2.0.0.2 - 2.0.0.0 - str) SKU: BR.OB-4447-15 Compos...(+)
Violin 1 (solo: clar -
2.0.0.2 - 2.0.0.0 - str)
SKU: BR.OB-4447-15
Composed by Wolfgang
Amadeus Mozart.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Solo concerto; Classical.
Part. 12 pages. Duration
31'. Breitkopf and
Haertel #OB 4447-15.
Published by Breitkopf
and Haertel
(BR.OB-4447-15). ISBN
9790004309704. 10 x 12.5
inches. Thanks
to a detailed sketch, we
know that Mozart
originally wrote his
famous Clarinet Concerto
K. 622 for basset horn in
G or A. It was only in
the early editions dating
from the 19th century
that this work -
considered as the
Clarinet Concerto par
excellence - became
unproblematic to play an
the A clarinet. However,
source studies have
revealed that this was
made possible only at the
price of considerable
un-Mozartian alterations
of the solo Part. Sabine
Meyer, Wolfgang Meyer and
Reiner Wehle, the members
of the Trio di Clarone,
haue eliminated some of
these modifications in
their new edition,
restoring Mozart's
original intentions.
However, their critical
revision in no way
impedes the
performability of the
A-major
Concerto. Die
Neuausgabe eines
Klavierauszuges verdient
besonderes Interesse, da
als Herausgeber mit
Sabine Meyer, Wolfgang
Meyer und Reiner Wehle
uberaus kompetente
Musiker fungieren. Die
Sorgfalt, mit der
gearbeitet wurde, merkt
man sowohl dem
Schriftbild als auch dem
informativen Vorwort
an.(Das
Liebhaberochester)
$8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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