| Buoso's Ghost (Piano/Vocal Score) Piano, Voix Schirmer
Composed by Michael Ching. One Act/Chamber Opera. 20th Century. Score. Publi...(+)
Composed by Michael
Ching.
One Act/Chamber Opera.
20th
Century. Score. Published
by
E.C. Schirmer Publishing
$27.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Magic of Harry Potter Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Alfred Publishing
(Featuring themes from all eight Harry Potter motion pictures). Arranged ...(+)
(Featuring themes from
all eight Harry
Potter motion
pictures). Arranged by
Michael Story and Michael
Story. Concert Band.
Concert Band; Part(s);
Score. Pop Young Band.
Form: Medley. Movie.
Grade 2. 264 pages.
Published by Alfred Music
Publishing
$75.00 $71.25 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Magic of Harry Potter Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
(Featuring themes from all eight Harry Potter motion pictures). Arranged ...(+)
(Featuring themes from
all eight Harry
Potter motion
pictures). Arranged by
Michael Story and Michael
Story. Concert Band.
Concert Band; Score;
SmartMusic. Pop Young
Band. Form: Medley.
Movie. Grade 2. 36 pages.
Published by Alfred Music
(AP.39534S
$10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Invictus: A Passion (Vocal/Choral Score) Soli, choeur mixte et accompagnement MorningStar Music Publishers
Composed by Howard Goodall (1958-). Multi-Movement/Large Choral Work. Holy Wee...(+)
Composed by Howard
Goodall
(1958-).
Multi-Movement/Large
Choral Work. Holy Week,
Lent,
Triduum/Three Days,
Tenebrae,
21st Century.
Vocal/choral
score. Published by
MorningStar Music
Publishers
$13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Jim Odrich Experience, with Orchestra: Pop Piano Played Easy Piano seul [Partition + CD] Music Minus One
For Piano. Includes a complete, high-quality printed music score with performanc...(+)
For Piano. Includes a
complete, high-quality
printed music score with
performance suggestions;
and a compact disc
containing the complete
version of each piece
with soloist and
accompaniment; then a
second performance with
accompaniments minus you,
the soloist. Published by
Music Minus One.
(1)$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Were You There on That Christmas Night? Voix moyenne, Piano [Vocal Score] Hope Publishing Company
Composed by Natalie Sleeth. Arranged by Lloyd Larson. For medium voice solo (key...(+)
Composed by Natalie
Sleeth. Arranged by Lloyd
Larson. For medium voice
solo (key of F). Hope's
All-Time Best Sellers
series. Christmas. Vocal
score. 8 pages. Published
by Hope Publishing
Company
$7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Nature's Way Orchestre d'harmonie [Conducteur et Parties séparées] American Composers Forum
Commissioned by American Composers Forum. Score and full set of parts. BandQuest...(+)
Commissioned by American
Composers Forum. Score
and full set of parts.
BandQuest. Concert.
Published by American
Composers Forum
$75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Slapshot Santa Scores Again Themes & Variations
SKU: TV.104 A huge hit with our students and parents!. Book/CD. Published...(+)
SKU: TV.104 A huge
hit with our students and
parents!. Book/CD.
Published by Themes &
Variations (TV.104).
ISBN
9781894096188. Sant
a dreams that he's scored
a goal in the NHL and
decides that he's going
to practice hockey until
he can play with his
favorite hockey star.
Production on the
Christmas toys falls
further and further
behind while Santa is out
practicing his slapshot.
The elves make some hasty
phone calls and Santa's
favorite hockey team
flies to the North pole
to have an exhibition
game. This 30 minute
musical has 10 songs
varying in style from
Strauss to 50's Rock &
Roll. The Teachers
Handbook includes piano
accompaniments,
reproducible student
pages, easy to understand
choreography, costume
suggestions and staging
ideas. $35.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Chet's Call Big band [Conducteur et Parties séparées] - Intermédiaire/avancé Sierra Music
By Metheny / Mays. Arranged by Bob Curnow. Jazz Ensemble / Jazz Band. The Pat Me...(+)
By Metheny / Mays.
Arranged by Bob Curnow.
Jazz Ensemble / Jazz
Band. The Pat Metheny Big
Band Series. Swing. Grade
4. Score and set of
parts. Published by
Sierra Music
$70.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Bollywood Strings (Senior Edition) (Full Score) - Facile Kendor Music Inc.
String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3 copies and opt...(+)
String Orchestra string
orchestra with opt. 3rd
Violin/Viola TC 3 copies
and opt. Electric Violin
Solo - Grade 4 SKU:
KN.09969S (Senior
Edition). Composed by
Julie Lyonn Lieberman.
Solo or Ensemble. Apex
String Orchestra. Kendor
Music Inc #09969S.
Published by Kendor Music
Inc (KN.09969S). UPC:
822795099690. Drivi
ng grooves and
asymmetrical melodic
patterns break and turn
to spin a festive,
celebratory string dance
in the Indian style
that's all the rage! This
piece takes advantage of
every possible medium to
instruct and inspire your
students by offering free
online video tutorials,
authentic Indian
percussion tracks, and
performance videos at
julielyonn.com. The
Junior (grade 2+) and
Senior (grade 4) editions
of this piece interlock
to create a multi-level
edition that's perfect
for all-district
concerts. An interlocking
score can be downloaded
for free here. Duration
5:10. Available in
SmartMusic. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bollywood Strings (Junior Edition) (Full Score) - Facile Kendor Music Inc.
String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3 - Grade 2.5 (+)
String Orchestra string
orchestra with opt. 3rd
Violin/Viola TC 3 - Grade
2.5 SKU: KN.08939S
(Junior Edition).
Composed by Julie Lyonn
Lieberman. Solo or
Ensemble. Voyager String
Orchestra. Kendor Music
Inc #08939S. Published by
Kendor Music Inc
(KN.08939S). UPC:
822795089394. Drivi
ng grooves and
asymmetrical melodic
patterns break and turn
to spin a festive,
celebratory string dance
in the Indian style
that's all the rage! This
piece takes advantage of
every possible medium to
instruct and inspire your
students by offering free
online video tutorials,
authentic Indian
percussion tracks, and
performance videos at
julielyonn.com. The
Junior (grade 2+) and
Senior (grade 4) editions
of this piece interlock
to create a multi-level
edition that's perfect
for all-district
concerts. Both editions
include an optional
electric violin (or
acoustic violin) solo
part and three copies of
the 3rd Violin/Viola T.C.
part. An interlocking
score can be downloaded
for free here. Duration
5:10. Available in
SmartMusic. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ancient Aires and Dances, Suite No. 1 (Balletto) Orchestre - Facile Alfred Publishing
By Ottorino Respighi. Arranged by Jerry Brubaker. For Full Orchestra. Full Orche...(+)
By Ottorino Respighi.
Arranged by Jerry
Brubaker. For Full
Orchestra. Full
Orchestra. Belwin
Intermediate Full
Orchestra. Level: 2.5
(grade 2.5). Conductor
Score and Parts. 58
pages. Published by
Alfred Publishing.
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Elijah (Elias) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
Arrangement for chamber orchestra (Linckelmann). Composed by Felix Bartholdy ...(+)
Arrangement for chamber
orchestra (Linckelmann).
Composed by Felix
Bartholdy
Mendelssohn (1809-1847).
Arranged by Joachim
Linckelmann. Gattungen
vokal:
Sacred vocal music. Full
Score. MWV A 25, Op. 70.
Duration 130 minutes.
Published by Carus Verlag
$193.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Jarba, Mare Jarba Chorale SATB Carl Fischer
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir SKU:
CF.CM9700 Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700). ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk. In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bollywood Strings (Junior Edition) Orchestre à Cordes [Conducteur et Parties séparées] - Facile Kendor Music Inc.
Composed by Lieberman. For string orchestra (88555) with optional 3rd violin/v...(+)
Composed by Lieberman.
For
string orchestra (88555)
with
optional 3rd violin/viola
TC
(3 copies). Cadet String
Orchestra Series. Grade
2.5.
Score and set of parts.
Duration 5 minutes, 10
seconds. Published by
Kendor
Music Inc
$52.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| All About That Bass Ensemble Jazz [Conducteur] - Facile Alfred Publishing
Composed by Meghan Trainor and Kevin Kadish. Arranged by Victor Lopez. Jazz Ense...(+)
Composed by Meghan
Trainor and Kevin Kadish.
Arranged by Victor Lopez.
Jazz Ensemble. Jazz
Ensemble; Score. Young
Jazz Ensemble. Jazz; Pop.
Grade 2. 16 pages.
Published by Alfred Music
$9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lift Him Up - Volume 5 (Book) [Partition] Brentwood-Benson
Arranged by Don Marsh. Vocal/chords songbook (spiral bound) for 4-part choir. Wi...(+)
Arranged by Don Marsh.
Vocal/chords songbook
(spiral bound) for 4-part
choir. With vocal score
and chord names.
Published by
Brentwood-Benson Music
Publishing.
(1)$9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Les Instantanés Piano seul - Avancé Dhalmann
Piano Solo - advanced SKU: FD.FD0321 Composed by Bernard De Vienne. Clavi...(+)
Piano Solo - advanced
SKU: FD.FD0321
Composed by Bernard De
Vienne. Claviers. Score.
Duration 15-20 minutes.
Editions Francois
Dhalmann #FD0321.
Published by Editions
Francois Dhalmann
(FD.FD0321). ISBN
9790560243214. Work
for solo piano. My
snapshots are scribblings
in pencil or ink, with a
little color, and that's
all -Kees van Dongen.
This collection of short
pieces is neither akin to
sketches nor to studies,
nor to preludes, nor to
variations in the
classical meaning of the
word. They are like the
rough drawings that make
up a kind of travel
notebook, and as such
they demand a piano
writing that involves
widely varied musical
gestures. This
multiplicity of very
different motifs crates
sudden ruptures in the
sonic atmosphere. This
writing doesn't develop
but rather hints at
things in order to reach
equilibrium between light
and deep. A play on
variants of the core
motifs runs right through
across the work. Each
piece centers on a motif
or a group of motifs in
particular that builds
the shape of a
palindrome. $36.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Great Gospel - Songs and Hymns
Chorale SATB SATB [Partition] - Intermédiaire Brentwood-Benson
(379 Songs and Hymns) Vocal score songbook for SATB choir. Hymnal. With vocal sc...(+)
(379 Songs and Hymns)
Vocal score songbook for
SATB choir. Hymnal. With
vocal score notation and
lyrics. Published by
Brentwood-Benson Music
Publishing.
(25)$8.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| See Amid the Winter's Snow Orchestre [Conducteur] - Intermédiaire Belwin
An English Carol, "Humility," for String Orchestra. Composed by Edward Caswal...(+)
An English Carol,
"Humility," for String
Orchestra. Composed by
Edward Caswall. Score;
String Orchestra. Belwin
Concert String Orchestra.
Christmas; Light Concert;
Winter. 12 pages.
Published
by Belwin Music
$10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Edvard Grieg : In the Hall of the Mountain King Ensemble de Clarinettes [Conducteur et Parties séparées] - Intermédiaire Wonderful Winds
(from Peer Gynt Suite No.1, Op.46). By Edvard Grieg (1843-1907). Arranged by Alf...(+)
(from Peer Gynt Suite
No.1, Op.46). By Edvard
Grieg (1843-1907).
Arranged by Alfie Pugh.
For clarinet choir: Eb
clarinet, 3 Bb clarinets,
2 bass clarinets.
Clarinet Collection.
Grade 3 to 8. Score and
parts. Duration 2'14.
Published by Wonderful
Winds (WN
$21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| All Aboard! Full Score Orchestre d'harmonie [Conducteur] Curnow Music
By Nathan Farrell. (Score). Curnow Concert Band Full Set. 24 pages. Published b...(+)
By Nathan Farrell.
(Score). Curnow Concert
Band Full Set. 24 pages.
Published by Curnow Music
Publications.
$13.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Trois Nouvelles Etudes Piano seul Peters
3 Etudes pour la Methode des Methodes. Composed by Frederic Chopin (1810-1849)...(+)
3 Etudes pour la Methode
des
Methodes. Composed by
Frederic Chopin
(1810-1849).
Piano (Solo). The
Complete
Chopin - A New Critical
Edition. Score. Edition
Peters #EP73229.
Published
by Edition Peters
$9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2 Piano seul - Avancé Musik Fabrik
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5 SKU:
FA.MFCD017B By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B). 8.27 x
11.69
inches. Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher. $48.69 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| That's It! Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
By Preservation Hall Jazz Band. By Benjamin Bela Jaffe. Arranged by Paul Murtha....(+)
By Preservation Hall Jazz
Band. By Benjamin Bela
Jaffe. Arranged by Paul
Murtha. For Jazz Ensemble
(Score and Parts). Young
Jazz (Jazz Ensemble).
Grade 3. Softcover.
Published by Hal Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Deuxieme Ballade Flûte traversière et Piano - Avancé Universal Edition
(Pour Flute Et Piano). By Frank Martin (1890-1974). For Flute, Piano. Score and ...(+)
(Pour Flute Et Piano). By
Frank Martin (1890-1974).
For Flute, Piano. Score
and Solo Part. 27
pages. Published by
Universal Edition
$36.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Acadia Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
1 31 Page suivante 61 91 ... 7351 |