Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Fete with a Prologue and 3 Acts. Composed by Jean- Philippe Rameau (1683-1764)....(+)
Fete with a Prologue and
3
Acts. Composed by Jean-
Philippe Rameau
(1683-1764).
Edited by Julien
Dubruque.
This edition: urtext
edition.
Paperback. Symphonies /
Versions of 1746 and
1745.
Score, anthology. RCT 59.
Baerenreiter Verlag
#BA07563.
Published by Baerenreiter
Verlag
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: BT.YKM570369270 Composed by Robert Saxton. Score Only. Com...(+)
Orchestra
SKU:
BT.YKM570369270
Composed by Robert
Saxton. Score Only.
Composed 2021. 70 pages.
University of York Music
Press #YKM570369270.
Published by University
of York Music Press
(BT.YKM570369270).
A Hymn to the
Thames was commissioned
by James Turnbull and the
Music Director of the St
Paul’s Sinfonia, Andrew
Morley. It was begun in
2019 and completed early
in 2020. There are four
movements played without
a break, which follow the
Thames from its Cotswold
source to the North Sea.
As the first performance
took place in St
ALfege’s Church,
Greenwich, this seemed
appropriate. The solo
oboe represents both a
wanderer along the river
path and the spirit of
the river. The pitch
centres of the movements
spell out the musical
letters of the river
(tHAmES—B natural, A, E
and E flat) so that the
river’s name is
projected across the
whole work. In addition,
the musical letters found
in James Turnbull, Andrew
Morley and my wife,
Teresa Cahill ( who was
born in Maidenhead and
brought up by the river
in Rotherhithe) are
entwined in various
guises. The first
movement grows from the
depths, the soloist
entering with
fanfare-like gestures,
followed by lyrical music
and breaks into a dance
as the river gathers
momentum. The third
movement is slow and
sustained and
geographically the Thames
flows through Oxford. The
music is based on the
well-known In Nomine
‘head motif’ from the
Gloria tibi Trinitas Mass
by the early Tudor
composer, John Taverner,
who was the first
Director of Music at
Christ Church, Oxford.
The orchestra provides a
screen or veil above
which the solo oboe
dreams and ruminates.
This leads directly into
the fourth and final
movement which begins in
the depths once more,
interrupting the oboe’s
held note from the end of
the third movement. The
waters’ increasing
intensity and power are
represented throughout by
a moto perpetuo of quick,
steady semiquavers. Near
the close, the woodwind
play O Nata Lux by Thomas
Tallis, the great Tudor
composer who, with his
wife Joan, is buried in
St Alfege’s. Beneath
this, the lower strings
continue the fast
semiquaver movement of
the river and, above, the
violins are heard as a
halo of harmonics. At the
close, the oboe rises,
opening out to the
future, and celebrating
its voyage, while the
orchestra fades as the
river meets the sea. A
Hymn to the Thames lasts
approximately 17
minutes.
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
Orchestra
SKU:
SU.94010400
For
Orchestra. Composed
by James Lee III.
Orchestra. Study Score.
Subito Music Corporation
#94010400. Published by
Subito Music Corporation
(SU.94010400).
2,1 2,1 2,1
2,1; 4331; timp, perc(3),
cel, hp; stgs Duration:
11' Composed: 2013
Published by: Subito
Music Publishing
Performance materials
available on rental:
Alas! Babylon’s
Final Sunset is
another installment in my
series of works that
musically comment on the
biblical books of Daniel
and Revelation. The
principal source of
inspiration for this
works comes from the 18th
chapter of the book of
Revelation. This chapter
states that the career of
Babylon the Great is
finally coming to an end.
The music begins with a
mysterious pianissimo
tremolo accompanied by
tam-tam and bass drum.
The initial flourishes in
the oboes and English
horn serve as the
principal motive of
warning. As the music
continues, there are
varying degrees of
agitation among the
strings and woodwinds.
Throughout the work there
are rhythmic motives in
the brass, percussion,
and various woodwind
instruments that sing and
speak Babylon is Fallen
in triple meter. As the
tutti ensemble arrives at
a climax, the orchestral
texture becomes thinner
and slightly transparent.
As the music continues,
the opening motive
returns in the oboes,
however the counterpoint
produces a series of solo
laments. These passages
are intended to provide
picturesque images of
these words: And the
voice of harpers, and
musicians, and of pipers,
and trumpeters, shall be
heard no more at all in
thee; and no craftsman,
of whatsoever craft he
be, shall be found any
more in thee; and the
sound of a millstone
shall be heard no more at
all in thee; And the
light of a candle shall
shine no more at all in
thee. and the voice of
the bridegroom and of the
bride shall be heard no
more at all in thee: for
thy merchants were the
great men of the earth;
for by thy sorceries were
all nations deceived. And
in her was found the
blood of prophets, and of
saints, and of all that
were slain upon the
earth. Rev. 18:22-24 The
following passages
musically comment on the
historical career of
Babylon with a sense of
her impending
destruction. The series
of laments transforms
into the more emphatic
rhythmic motive Babylon
is Fallen. The orchestral
texture begins to become
more condense, once
again, with the initial
flourishes of, but with
notable variations.
Finally, the celesta,
harp, oboes, English
horn, and strings sing
profundities that are
finally transformed into
a minor mode tonality
that fades away with the
ringing of the tam-tam.
Babylon has finally seen
her last sunset.
Score and Parts Concert Band; Wind Ensemble - Grade 5 For Wind Orchestra Score ...(+)
Score and Parts Concert
Band;
Wind Ensemble - Grade 5
For Wind Orchestra Score
and
Parts. Composed by Johan
De
Meij. Amstel Music.
Concert.
Softcover. Duration 2580
seconds. Amstel Music
#AM200-
010. Published by Amstel
Music
Orchestra SKU: SU.91580100 For Orchestra. Composed by Steven Mercu...(+)
Orchestra
SKU:
SU.91580100
For
Orchestra. Composed
by Steven Mercurio.
Vocal/Choral, Opera. CD
(Audio). Subito Music
Corporation #91580100.
Published by Subito Music
Corporation
(SU.91580100).
A Grateful Tail
- Movement by Movement
Siriusly, Dog Star
Sirius, the brightest
star in the night sky,
has been used by
travelers and navigators
for thousands of years as
a guiding star and so it
is here as the opening
movement for the
symphony. Sirius, the
cornerstone to the
constellation Canis
Maggiore or Big Dog sits
at the foot of Orion, the
hunter, leading the way.
Highly cinematic, the
movement evokes both a
musical and visual sense
of the mythological and
mysterious elements of
Sirius and its Dog
Godstar secrets. From the
clarion call of the
opening, Sirius theme,
the sound is buoyant and
frisky emulating the
nature of doggy playtime.
Puppy pleasures abound as
a doggy four-step, my
turn on the traditional
American two-step dance,
is introduced. The
movement transforms into
an actual orchestrated
frolic of small, large
and medium dog barks
beginning with the winds
(smaller dogs) and
ultimately, the big dog,
brass. The movement
climaxes with the coda
or, Dog Park, where the
winds and the brass bark
and play together over
the, doggy ostinato
four-step rhythm,
culminating with the
final call of the Sirius
theme. Let Sleeping Dogs
Lie, Peacefully It's all
in a dog's day and life.
Tranquility presides over
this supremely gentle,
intermezzo-like movement.
After a day of play,
every dog needs rest. Let
Sleeping Dogs Lie, is a
lyrical andante inspired
by the profound serenity
and beauty of a dog at
rest. The Last Will and
Testament of Silverdene
Emblem O'Neill Based on a
powerful piece of prose
written by the American
playwright, Eugene
O'Neill this text was
intended as a consolation
piece for Carlotta, his
wife, who had become
grief-stricken over the
loss of their beloved
dog, the Dalmatian known
as Blemie.Written for a
singing actor who
personifies the role of
Blemie, a dog at the end
of his life, the movement
plays like a one act,
musical drama as we
follow Blemie through a
wonderfully
three-dimensional,
emotional and
psychological journey
writing his Last Will and
Testament, for those who
have loved him. Wagging
the Tail: Ossia Fido's
Lament A life-affirming
rumba/samba using
Blemie's final words from
O'Neill's text, this
final movement employs
the most unique American
musical invention, the
gospel choir. In order to
make the dances come
alive, this movement also
calls upon the colors of
a rhythm section.
Creating the spirit of an
Irish Funeral, the
movement is a joyful and
revival-like celebration
of a dog's life as its
spirit lives on forever
in the hearts and minds
of dog lovers everywhere.
Remember Me, remember me!
My spirit is wagging a
grateful tail. Published
by: Subito Music
Publishing Release Date:
July 9, 2013.
Soprano, baritone, spoken
voice, mixed choir
(SSSSAAAATTTTBBBB, and 9
boys' voices, S/A) and
orchestra (Score) -
difficult
SKU:
HL.49006187
(The
Raft of the Medusa).
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1968/1990. 168 pages.
Duration 70'. Schott
Music #ED6326. Published
by Schott Music
(HL.49006187).
ISBN
9790001067270. UPC:
884088099282.
8.25x11.75x0.41 inches.
German - English.
Orchestra SKU: BA.BA05822-01 Composed by Christoph Willibald Von Gluck. E...(+)
Orchestra
SKU:
BA.BA05822-01
Composed by Christoph
Willibald Von Gluck.
Edited by Irene
Brandenburg. Arranged by
Carlo Bernardi and
Gasparo Angiolini. This
edition: complete
edition, urtext edition.
Linen. Complete edition,
Score. Baerenreiter
Verlag #BA05822-01.
Published by Baerenreiter
Verlag (BA.BA05822-01).
ISBN 9790006567454. 33
x 26 cm inches. Preface:
Brown, Bruce
Alan.
To conclude
Series II (Dance Dramas)
from the Gluck Complete
Edition (GGA), this
volume of Christoph
Willibald Gluck's
earliest contributions to
the genre comprises six
ballet scores from 1759
(La Promenade, Les
Jardiniers, Les Turcs,
Les Savoiards, Les Amours
de Flore et Zphire, and
Le Suisse) as well as the
ballet music for Les
Vendanges, which dates
from 1761. These works
belong to the
compositions â also
called Krumau ballets
because of their musical
transmission â which
Gluck created in Vienna
between 1759 and 1765 for
the court theatres in
Laxenburg and
Schönbrunn as well as
the
Kärntnertortheater,
and which are to be
attributed to him as a
ballet composer around
the middle of the 18th
century in Viennese
theatre life based on the
considerations presented
in the general
preface.
Together
with volumes II/3 to
II/5, ballet music by
Gluck is available whose
sources come from the
former Schwarzenberg
court archive in Ceský
Krumlov, Czech Republic,
and which until the
Velvet Revolution of
1989, lay behind the Iron
Curtain remaining largely
inaccessible and
unexplored by Western
scholars. These volumes
reflect two fundamental
developments in Gluck
research: on the one
hand, they provide a
significantly expanded,
historically more
accurate idea of what it
meant to compose for the
ballet in the 18th
century; on the other
hand, they bring to light
an immense treasure trove
of sources formerly of
Viennese
provenance.
In
addition to the detailed
introduction by this
volumeâs editor on
the ballet choreographies
of Gasparo Angiolini and
Carlo Bernardi, on the
formation of the ballet
troupes of the Viennese
theatres in Gluck's early
years there, on ballet
types and genres, as well
as a detailed account of
the individual titles,
the volume includes a
general preface to
volumes II/3 through II/5
by Bruce Alan Brown,
which discusses Gluck's
ballet music in Vienna in
general as well as the
development of research
into this genre.
Extensive illustrations
(partly from the
so-called Durazzo
Collection) with
reference to the
choreographies enrich the
discussions. The ballet
works, which have
survived in only one
source each, appear in
print for the first time
in this volume of the
Gluck Complete
Edition.
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
Orchestra - Grade 1.5 SKU: AP.48071S Featuring Themes from Take Me Out...(+)
Orchestra - Grade 1.5
SKU: AP.48071S
Featuring Themes from
Take Me Out to the Ball
Game and the Ninth
Symphonies of Franz
Shubert, AntonÃn
Dvorák, and Ludwig van
Beethoven. Composed
by Albert Von Tilzer,
Antonin Dvorak, Franz
Shubert, and Ludwig van
Beethoven. Arranged by
Bob Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Sound
Innovations for String
Orchestra. Masterwork
Arrangement. Score. 8
pages. Duration 2:30.
Alfred Music #00-48071S.
Published by Alfred Music
(AP.48071S).
UPC:
038081557601.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
Tongue-in-cheek
and beautiful, Bottom of
the Ninths is the perfect
way to delve into these
masterworks with young
players in a fun context!
All sections remain in
1st position, in the key
of D major, with no high
3's or low 1's as the
melodies are passed
throughout the orchestra.
Easy to play and
showcasing the beauty of
these great composers,
this piece, arranged by
Bob Phillips, would shine
at a festival or contest.
The medley features Take
Me Out to the Ball Game;
the opening theme from
Schubert's Symphony No. 9
which is, of course, at
the beginning of that
work; the famous Going
Home theme from the
middle of Dvorák's
Symphony No. 9; and the
Ode to Joy theme from
Beethoven's Symphony No.
9, which is at the end,
or the bottom, of the
9th. Correlated to Sound
Innovations for String
Orchestra, Book 1, Level
5. (2:30) This title
available in MakeMusic
Cloud.
Orchestra - Grade 1.5 SKU: AP.48071 Featuring Themes from Take Me Out ...(+)
Orchestra - Grade 1.5
SKU: AP.48071
Featuring Themes from
Take Me Out to the Ball
Game and the Ninth
Symphonies of Franz
Shubert, AntonÃn
Dvorák, and Ludwig van
Beethoven. Composed
by Albert Von Tilzer,
Antonin Dvorak, Franz
Shubert, and Ludwig van
Beethoven. Arranged by
Bob Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Sound
Innovations for String
Orchestra. Masterwork
Arrangement. Score and
Part(s). 76 pages.
Duration 2:30. Alfred
Music #00-48071.
Published by Alfred Music
(AP.48071).
UPC:
038081557595.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
Tongue-in-cheek
and beautiful, Bottom of
the Ninths is the perfect
way to delve into these
masterworks with young
players in a fun context!
All sections remain in
1st position, in the key
of D major, with no high
3's or low 1's as the
melodies are passed
throughout the orchestra.
Easy to play and
showcasing the beauty of
these great composers,
this piece, arranged by
Bob Phillips, would shine
at a festival or contest.
The medley features Take
Me Out to the Ball Game;
the opening theme from
Schubert's Symphony No. 9
which is, of course, at
the beginning of that
work; the famous Going
Home theme from the
middle of Dvorák's
Symphony No. 9; and the
Ode to Joy theme from
Beethoven's Symphony No.
9, which is at the end,
or the bottom, of the
9th. Correlated to Sound
Innovations for String
Orchestra, Book 1, Level
5. (2:30) This title is
available in MakeMusic
Cloud.
As Twilight Falls Orchestre [Conducteur] - Débutant Alfred Publishing
Concert Band; Orchestra - Grade 1.5 SKU: AP.49213S Composed by Robert She...(+)
Concert Band; Orchestra -
Grade 1.5
SKU:
AP.49213S
Composed by
Robert Sheldon. 5 or
More; Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Sound Innovations for
Concert Band. Score.
Duration 2:10. Alfred
Music #00-49213S.
Published by Alfred Music
(AP.49213S).
ISBN
9781470648558. UPC:
038081569352.
English.
This
version of As Twilight
Falls by Robert Sheldon
is part of our Alfred
FLEX offerings and is
designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
The sense of
peace and tranquility of
twilight on a summer's
evening inspires this
lovely, lyrical offering.
An excellent teaching
opportunity for phrasing
and expression, As
Twilight Falls provides a
moment of contrast at any
young band's concert
performance and is now
available in Alfred's
5-part FLEX format.
Correlates to Book 1,
Level 5 of Sound
Innovations for Concert
Band.
Concert Band; Orchestra - Grade 1.5 SKU: AP.49213 Composed by Robert Shel...(+)
Concert Band; Orchestra -
Grade 1.5
SKU:
AP.49213
Composed by
Robert Sheldon. 5 or
More; MakeMusic Cloud;
Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Sound Innovations for
Concert Band. Score and
Part(s). Duration 2:10.
Alfred Music #00-49213.
Published by Alfred Music
(AP.49213).
ISBN
9781470648541. UPC:
038081569345.
English.
This
version of As Twilight
Falls by Robert Sheldon
is part of our Alfred
FLEX offerings and is
designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
The sense of
peace and tranquility of
twilight on a summer's
evening inspires this
lovely, lyrical offering.
An excellent teaching
opportunity for phrasing
and expression, As
Twilight Falls provides a
moment of contrast at any
young band's concert
performance and is now
available in Alfred's
5-part FLEX format.
Correlates to Book 1,
Level 5 of Sound
Innovations for Concert
Band.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all
SKU:
PR.816600040
Composed
by Wolfgang Amadeus
Mozart. CD Sheet Music
(Version 1). Full Scores
to all of the major works
for orchestra by Mozart -
parts not included.
Classical Period. CD
Sheet Music. 2000
printable pages.
Published by Theodore
Presser Company
(PR.816600040).
UPC:
680160600045. 5.5x5
inches.
This disk
contains study scores of
all 41 of Mozart's
Symphonies, as well as
Concertos for Winds and
Strings (Piano Concertos
are on a companion
CD-ROM), Serenades, Opera
Overtures, Divertimentos,
and other works.
About CD Sheet
Music (Version
1)
CD
Sheet Music (Version 1)
was the initial CD Sheet
Music series distributed
by Theodore Presser. The
CDs include thousands of
pages of music that are
viewable and printable on
Mac or PC. Version 1
titles are a great value
at 40% off, as we make
room in our warehouse for
the newly enhanced CD
Sheet Music (Version 2.0)
series.
Tales of Vandosar Orchestre [Conducteur et Parties séparées] - Intermédiaire Highland/Etling
Composed by Richard Meyer. Orchestra. For full (timp, bells/xylophone, Suspended...(+)
Composed by Richard
Meyer. Orchestra. For
full (timp,
bells/xylophone,
Suspended Cymbal, Crash
Cymbals, Triangle, Snare
Drum, Tambourine,
Castanets). Full
Orchestra; Part(s);
Score. Highland Full
Orchestra. Form:
Overture. Grade 3. 220
pages. Published by
Highland/Etling
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
Full Score Full Orchestra; Orchestra (Score) - Grade 4 SKU: HL.4501216 Co...(+)
Full Score Full
Orchestra; Orchestra
(Score) - Grade 4
SKU:
HL.4501216
Composed
by Andrew Lloyd Webber.
Arranged by Calvin
Custer. HL Full
Orchestra. Broadway,
Movies. 44 pages.
Published by Hal Leonard
(HL.4501216).
UPC:
884088365509.
9.0x12.0x0.092
inches.
Performance
time - ca. 11:45 The
phenomenon of this stage
production continues with
the release of the motion
picture that has
introduced Sir Andrew
Lloyd Webber's timeless
music to yet another
audience. Calvin Custer's
medley features six
musical highlights from
both the film and stage
versions: All I Ask of
You, Angel of Music,
Masquerade, The Music of
the Night, The Phantom of
the Opera, and Think of
Me.
Orchestra (FULL SCORE) SKU: HL.263038 For Orchestra. Composed by J...(+)
Orchestra (FULL SCORE)
SKU: HL.263038
For Orchestra.
Composed by John Luther
Adams. Music Sales
America. Classical.
Softcover. Composed 2017.
162 pages. Chester Music
#CH87131. Published by
Chester Music
(HL.263038).
UPC:
888680952907.
12.0x16.5x0.565
inches.
“Over
the years my orchestral
music has become simpler
and more expansive.
Clouds of Forgetting,
Clouds of Unknowing
(1991-95) contains four
different musical
textures. In the White
Silence (1998) has three.
For Lou Harrison (2002)
reduces this to just two.
In Dark Waves (2007), I
finally got to one. When
I first heard that piece
I began to wonder if I
could sustain a similar
sound for a longer span
of time. The result is
Become Ocean, a
meditation on the vast,
deep and mysterious tides
of existence. The title
is borrowed from a
mesostic verse that John
Cage wrote in honor of
Lou Harrison's birthday.
Likening Harrison's music
to a river in delta, Cage
writes: Listening to it
we become ocean. Life on
this earth first emerged
from the sea. And as the
polar ice melts and sea
level rises, we humans
find ourselves facing the
prospect that once again
we may quite literally
become ocean.†John
Luther Adams.
Symphonies. Composed by Jean- Philippe Rameau (1683-1764). Edited by Thomas Sou...(+)
Symphonies. Composed by
Jean-
Philippe Rameau
(1683-1764).
Edited by Thomas Soury.
This
edition: urtext edition.
Paperback. Score,
anthology.
Baerenreiter Verlag
#BA08895_00. Published by
Baerenreiter Verlag
From Concerto Grosso,
Op. 6, No. 1.
Composed by George
Frideric Handel. Arranged
by Deborah Baker Monday.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Masterwork
Arrangement. Score. 12
pages. Duration 2:00.
Highland/Etling
#00-48087S. Published by
Highland/Etling
(AP.48087S).
ISBN
9781470655556. UPC:
038081553931.
English.
Some of
the most exuberant music
from the Baroque period
comes to us from George
Frideric Handel, composer
of Messiah, among many
other masterpieces.
Handel's Allegro from
Concerto Grosso, Op. 6,
No. 1, arranged by
Deborah Baker Monday, is
a perfect example of his
most joyous music and is
an excellent choice for
concert or festival. The
four-measure melodic
theme in G major occurs
throughout the piece and
is passed among all
instruments. A half step
figure is also a common
motive with easily
accessible fingerings
provided. This piece
features simple quarter
and eighth-note rhythms.
The accompanying parts
are interrelated, and
rhythmic independence is
limited. (2:00) This
title available in
MakeMusic Cloud.
From Concerto Grosso,
Op. 6, No. 1.
Composed by George
Frideric Handel. Arranged
by Deborah Baker Monday.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Masterwork
Arrangement. Score and
Part(s). 124 pages.
Duration 2:00.
Highland/Etling
#00-48087. Published by
Highland/Etling
(AP.48087).
ISBN
9781470655549. UPC:
038081553924.
English.
Some of
the most exuberant music
from the Baroque period
comes to us from George
Frideric Handel, composer
of Messiah, among many
other masterpieces.
Handel's Allegro from
Concerto Grosso, Op. 6,
No. 1, arranged by
Deborah Baker Monday, is
a perfect example of his
most joyous music and is
an excellent choice for
concert or festival. The
four-measure melodic
theme in G major occurs
throughout the piece and
is passed among all
instruments. A half step
figure is also a common
motive with easily
accessible fingerings
provided. This piece
features simple quarter
and eighth-note rhythms.
The accompanying parts
are interrelated, and
rhythmic independence is
limited. (2:00) This
title is available in
MakeMusic Cloud.
Concert Band; Orchestra - Grade 3 SKU: AP.49122 Composed by Chris M. Bern...(+)
Concert Band; Orchestra -
Grade 3
SKU:
AP.49122
Composed by
Chris M. Bernotas. 5 or
More; MakeMusic Cloud;
Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Young Symphonic. Score
and Part(s). 170 pages.
Duration 4:26. Alfred
Music #00-49122.
Published by Alfred Music
(AP.49122).
UPC:
038081563558.
English.
This
version of Ride Through
the Valley by Chris
Bernotas is part of our
Alfred FLEX offerings and
is designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
The fast-paced
opening of Bernotas' Ride
Through the Valley builds
momentum, leading to a
bright and tuneful main
theme. A lyrical
contrasting section
follows featuring a
warmth of colors enhanced
by vibraphone and
gracefully cascading
arpeggiated pyramids. A
brief transition leads to
a return of the main
theme including a key
change, bringing the
piece to a driving
conclusion. (4:26)
Concert Band; Orchestra - Grade 3 SKU: AP.49122S Composed by Chris M. Ber...(+)
Concert Band; Orchestra -
Grade 3
SKU:
AP.49122S
Composed by
Chris M. Bernotas. 5 or
More; MakeMusic Cloud;
Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Young Symphonic. Score.
28 pages. Duration 4:26.
Alfred Music #00-49122S.
Published by Alfred Music
(AP.49122S).
UPC:
038081563565.
English.
This
version of Ride Through
the Valley by Chris
Bernotas is part of our
Alfred FLEX offerings and
is designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
The fast-paced
opening of Bernotas' Ride
Through the Valley builds
momentum, leading to a
bright and tuneful main
theme. A lyrical
contrasting section
follows featuring a
warmth of colors enhanced
by vibraphone and
gracefully cascading
arpeggiated pyramids. A
brief transition leads to
a return of the main
theme including a key
change, bringing the
piece to a driving
conclusion. (4:26)
Concert Band; Orchestra - Grade 1 SKU: AP.49215 Featuring Good King We...(+)
Concert Band; Orchestra -
Grade 1
SKU:
AP.49215
Featuring
Good King Wenceslas.
Arranged by Scott Watson.
5 or More; MakeMusic
Cloud; Mixed Instruments
- Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Alfred Debut
Series. Christmas;
Holiday Pops; Winter.
Score and Part(s).
Duration 2:30. Alfred
Music #00-49215.
Published by Alfred Music
(AP.49215).
ISBN
9781470648589. UPC:
038081569383.
English.
This
version of At the Feast
of Stephen by Scott
Watson is part of our
Alfred FLEX offerings and
is designed with maximum
flexibility for use by
any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 4 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
4-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
This novel
setting of the
traditional carol Good
King Wenceslas will
musically transport you
and your students to the
royal Christmas banquet
hall of a medieval king!
The old carol tells the
story of a legendary
10th-century monarch,
Duke Wenceslas of
Bohemia, who went out in
the severe cold to give
charity to the poor on
December 26, also known
as St. Stephen's Day. The
well-known 13th-century
tune, as well as
additional original
material in period style,
vividly conjures a lively
celebration of Christmas
in the high Middle Ages.
Come now ye lords
and ladies to the Feast
of Stephen and upon your
instruments faire make
most merry this Yuletide!