String
Quartet - Score.
Composed by Julia
Hodkinson. Music Sales
America. Classical,
Contemporary. Score.
Composed 2014. 20 pages.
Edition Wilhelm Hansen
#WH32129. Published by
Edition Wilhelm Hansen
(HL.14043251).
ISBN
9788759831380.
English.
Juliana
Hodkinson 's Is There
Something You Can Tell Us
for String Quartet. This
ten minute piece was
written for the Anima
Quartet and was
comissioned by SWR
(South-West German Radio)
for first performance at
Theaterhaus Stuttgart on
7th June 2014 during the
festival 'Lost & Found -
Stimme. Text. Szene.'.The
quartet's title and the
titles of the individual
movements are taken from
Cynthia Troup's libretto
'Turbulence'. I Degrees
of freedom II Hidden by
an almost perfect balance
III We are taught that it
is out of reach IV For
the real earth we do not
know yet.
60 Songs - Low Voice. Composed by Roger Quilter (1877-1953). Boosey and Hawkes...(+)
60 Songs - Low Voice.
Composed by Roger Quilter
(1877-1953). Boosey and
Hawkes
Voice. Softcover. 240
pages.
Boosey and Hawkes
#M051934577.
Published by Boosey and
Hawkes
Piano SKU: HL.14042066 Piano. By Julia A. Burt. By Selim Palmgren....(+)
Piano
SKU:
HL.14042066
Piano. By Julia A.
Burt. By Selim Palmgren.
Edited by Julia A. Burt.
Music Sales America.
Classical. Softcover.
Composed 2012. 16 pages.
Edition Wilhelm Hansen
#WH31601. Published by
Edition Wilhelm Hansen
(HL.14042066).
ISBN
9788759825815. UPC:
888680029722.
8.5x11.75x0.153
inches.
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.
60 Songs - High Voice. Composed by Roger Quilter (1877-1953). Boosey and Hawke...(+)
60 Songs - High Voice.
Composed by Roger Quilter
(1877-1953). Boosey and
Hawkes
Voice. Softcover. 240
pages.
Boosey and Hawkes
#M051934560.
Published by Boosey and
Hawkes
SATB chorus and piano - Medium SKU: JK.01812 Composed by Julia Ryan and T...(+)
SATB chorus and piano -
Medium
SKU:
JK.01812
Composed by
Julia Ryan and Thayne
Martin. Arranged by
Thayne Martin. Choral
SATB, Difficulty Medium,
Piano Choir, Seasonal
Music Christmas,
Christmas, Youth.
Christian, Inspirational.
Duration 3:15. Jackman
Music Corporation #01812.
Published by Jackman
Music Corporation
(JK.01812).
Youthful
nativity for mixed chorus
(SATB) and piano in F
major, appropriate for
youth or Christmas
program. Sopranos'
highest note: D.
Composer: Julia Ryan
& Thayne Martin
Arranger: Thayne
Martin Lyricist:
Julia Ryan
Difficulty: Medium
Performance time:
3:15 Reference: Luke
2:4-16, Matthew
2:1-2.
Choral SATB choir SKU: HP.VN100 Composed by Julia Ward Howe. Arranged by ...(+)
Choral SATB choir
SKU:
HP.VN100
Composed by
Julia Ward Howe. Arranged
by Vaclav Nelhybel. Piano
Accompaniment. Patriotic,
General Worship, Sacred.
Octavo. 16 pages. Hope
Publishing Company
#VN100. Published by Hope
Publishing Company
(HP.VN100).
UPC:
763628141615. Words by
Julia Ward Howe. 1 John
4:17, 2 Corinthians 5:10,
Isaiah 30:28, Isaiah
52:7, Isaiah 63:1-4, John
8:32, Luke 2:30, Luke
21:27, Matthew 6:28-29,
Psalms 43:3, Psalms
76:12, Revelation 19:15,
Romans
14:10.
Traditional
American Melody with
words by Julia Ward
Howe Choral Setting
by Vaclac Nelhybel.
Composed
by Peter Schickele. Full
score. Duration 26
minutes. Theodore Presser
Company #114-42131S.
Published by Theodore
Presser Company
(PR.11442131S).
UPC:
680160681006.
A lot
of chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend - my brother, who
plays viola, was an is an
inveterate chamber music
player - and members of
parents' generation. The
latter included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the orchestra's
concert mistress, and
others) but also people
from various other walks
of life. Although I don't
play a string instrument,
I was almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.) Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980's, ideas for
a string sextet began
appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it's hard for
me to finish a major
work, since there are
always other pieces (with
deadlines) waiting to be
completed. So when the
Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done. The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going. I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. A lot of
chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend – my
brother, who plays viola,
was an is an inveterate
chamber music player
– and members of
parents’
generation. The latter
included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the
orchestra’s
concert mistress, and
others) but also people
from various other walks
of life. Although I
don’t play a
string instrument, I was
almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.)Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980’s,
ideas for a string sextet
began appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it’s
hard for me to finish a
major work, since there
are always other pieces
(with deadlines) waiting
to be completed. So when
the Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done.The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going.I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten.
Idolaat! Piano, Voix et Guitare [Partition + CD] - Facile De Haske Publications
Piano, Vocal and Guitar - early intermediate SKU: BT.DHP-1125351-400 P...(+)
Piano, Vocal and Guitar -
early intermediate
SKU:
BT.DHP-1125351-400
Popsical Songbook.
Composed by Jacob De
Haan. Book with CD.
Composed 2013. 72 pages.
De Haske Publications
#DHP 1125351-400.
Published by De Haske
Publications
(BT.DHP-1125351-400).
From Wish. By Julia Michaels. By Benjamin Rice and Julia Michaels. Arranged by...(+)
From Wish. By Julia
Michaels.
By Benjamin Rice and
Julia
Michaels. Arranged by
Roger
Emerson. Disney Choral.
Disney, Movies, Pop.
Octavo.
Duration 165 seconds.
Published by Hal Leonard
Facsimile of the Autograph Hardcover. Composed by Ludwig van Beethoven. Edit...(+)
Facsimile of the
Autograph
Hardcover. Composed by
Ludwig
van Beethoven. Edited by
Julia
Ronge. Arranged by Julia
Ronge. Henle Facsimile.
Classical, Facsimile.
Hardcover. 94 pages. G.
Henle
#HN3230. Published by G.
Henle
From Wish. By Julia Michaels. By Benjamin Rice and Julia Michaels. Arranged by...(+)
From Wish. By Julia
Michaels.
By Benjamin Rice and
Julia
Michaels. Arranged by
Roger
Emerson. Disney Choral.
Disney, Movies, Pop.
Octavo.
Duration 165 seconds.
Published by Hal Leonard
SATB chorus a cappella - Grade 3 SKU: CA.927400 Composed by Julia Schwart...(+)
SATB chorus a cappella -
Grade 3
SKU:
CA.927400
Composed by
Julia Schwartz. Carus
digital: Extra digital
products. Full Score.
Duration 12 minutes.
Carus Verlag #927400.
Published by Carus Verlag
(CA.927400).
ISBN
9790007311902. Language:
DT/EN/FR.
Composer
Julia Schwartz: âI
wrote Der Wind als
Liebender (The wind as
lover) for a competition
in 2015. As I like to
compose themed cycles, I
searched for additional
poems about the weather
and found examples in
three different
languages. This was easy
for me as a native
English speaker and with
French as my first
foreign language. And
Morgenstern, Teasdale and
Verlaine are three of my
favorite poets. Of
course, the poems are
only ostensibly about the
phenomenon of weather
â they actually deal
with nature or
love.â.
From Wish. By Julia Michaels. By Benjamin Rice and Julia Michaels. Arranged ...(+)
From Wish. By Julia
Michaels.
By Benjamin Rice and
Julia
Michaels. Arranged by
Roger
Emerson. Disney Choral.
Disney, Movies, Pop.
Octavo.
Duration 165 seconds.
Published by Hal Leonard
(Violin). By Charles Dancla (1817-1907). Edited by Julia M?ller-Runte, Martin M?...(+)
(Violin). By Charles
Dancla (1817-1907).
Edited by Julia
M?ller-Runte, Martin
M?ller-Runte, Julia M,
and Martin M. For Violin.
Schott. Softcover. 52
pages. Schott Music
#ED21126. Published by
Schott Music
Choral SKU: HL.283650 Storybook from Musical Tales for Modern Minds(+)
Choral
SKU:
HL.283650
Storybook from Musical
Tales for Modern
Minds. J3 Music
Studios. Classroom
Resources, Elementary,
Music / Genres & Styles /
Children's. Softcover
Audio Online. 32 pages.
Published by Hal Leonard
(HL.283650).
ISBN
9780990785125. UPC:
888680793692. 10x9
inches.
West
Africa's vibrant colors
and sounds come alive in
this interactive musical
storybook depicting the
touching tale of a small
bird who must face her
biggest fear. 4 to 7 year
olds will love adding the
sounds of Haja's
heartbeat, wind and the
rain on the mango leaves.
Companion audio includes
a djembe drum jam track,
an audiobook of the
story, and the instant
classic song “Fly
Haja Fly,”
performed by author Julia
Jordan Kamanda and
students from J3Music
Studios. A
singer/songwriter,
teaching artist, and
“mom on a music
mission,” Julia
helps your students
explore Haja's world and
learn more about the
musical element of
rhythm.
The price
of this book includes a
unique code that provides
access to download audio
tracks online.
42 Traditional Pieces. Composed by Julia Chardavoine, Diego Brossollet Her...(+)
42 Traditional Pieces.
Composed by Julia
Chardavoine, Diego
Brossollet
Hernandez, and Cesar Ivan
Juarez-Joyner. Edited by
Cesar Ivan Juarez-Joyner,
Diego Brossollet
Hernandez,
and Julia Chardavoine.
This
edition: Saddle
stitching.
Sheet music with CD.
String
Solo. Mexican, Folk,
Classical. Edition with
mp3-
CD. 96 pages. Schott
Music
#ED13900. Published by
Schott
Music
Choir, SSA, 3-Part, Women's Choir From Wish. By Julia Michaels. By Benjamin R...(+)
Choir, SSA, 3-Part,
Women's
Choir
From Wish. By Julia
Michaels.
By Benjamin Rice and
Julia
Michaels. Arranged by
Roger
Emerson. Disney Choral.
Disney, Movies, Pop.
Octavo.
Duration 165 seconds.
Published by Hal Leonard
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115218-140 From the Param...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115218-140
From the Paramount
Picture ROMEO AND
JULIET. Composed by
Nino Rota. Arranged by
Toshio Mashima. New
Sounds for Concert Band.
Original Light Music.
Score Only. Composed
2011. 20 pages. De Haske
Publications #DHP
1115218-140. Published by
De Haske Publications
(BT.DHP-1115218-140).
9x12 inches.
English-German-French-Dut
ch.
Romeo and
Juliet is a sensitive
adaptation of the
unforgettable love theme
from Nino Rota’s
soundtrack to Franco
Zeffirelli’s 1968
film, Romeo and Juliet.
Retaining the tumultuous
romance and tragedy of
the story itself, Toshio
Mashima’s
arrangement is ideal for
concert or competition
performance.
Nino
Rota is vooral bekend
geworden van zijn
filmmuziek bij The
Godfather, waarvoor
hij een Oscar ontving.
Voor de verfilming van
Romeo en Julia van
Franco Zeffirelli uit het
jaar 1968 schreef hij
eveneens de muziek.Van
het liefdesthema uit deze
film heeft Mashima een
arrangement geschreven.
Romeo en Juliet:
een dramatische en
prachtige verklanking die
de romantiek maar ook de
tragiek van het verhaal
op onvergetelijke wijze
weergeeft
Nino
Rota, der vor allem
für seine
oscargekrönte
Filmmusik zu Der Pate
bekannt ist, schrieb
auch die Musik zur
Verfilmung von Romeo
und Julia von Franco
Zeffirelli aus dem Jahre
1968. Unvergessen aus
diesem Soundtrack ist das
Liebesthema“,
welches die ganze
Romantik und Tragik der
Handlung widerspiegelt.
Volume 1. 15
Easy Pieces for Playing &
Improvising. Composed
by Julia Hülsmann.
Reference Textbooks;
Textbook - Piano. Advance
Music. Jazz. Book and
Digital Download. Advance
Music #01-ADV9048.
Published by Advance
Music (AP.1-ADV9048).
ISBN 9783954810598.
English.
How does
one learn to improvise?
The well-known jazz
pianist Julia Hülsmann
provides an easy and
accessible introduction
to Modern Piano
Improvisation in this
first volume of the
series. In 15 easy pieces
she shows how to use just
a few tones to develop
your own improvisational
ideas and motifs. This
volume contains known
standards by great jazz
musicians like Cole
Porter and Sonny Rollins
as well as compositions
by Hülsmann herself
which vary in style
between modern jazz and
pop sounds. Volume 1 is
aimed at musicians who
have already learnt the
first technical basics on
the piano and now wish to
play more freely. Modern
Piano Improvisation
provides the tools for
you to find your own way
of expressing yourself on
the instrument.