(Prelude to the Afternoon of a Faun). By Claude Debussy (1862-1918). Edited by D...(+)
(Prelude to the Afternoon
of a Faun). By Claude
Debussy (1862-1918).
Edited by Douglas
Woodfull-Harris. For
orchestra (3 flutes/2
oboes/english horn/2
clarinets/2 bassoons/4
horns/cymbal/2 harps/2
violins/viola/cello/doubl
e bass). This edition:
Stapled, Urtext edition.
Score. Text Language:
English/French/German. 44
pages. Duration 10'.
Published by Baerenreiter
Verlag
By Johann Sebastian Bach (1685-1750). Edited by Heinrich Besseler; Hans Gruss. F...(+)
By Johann Sebastian Bach
(1685-1750). Edited by
Heinrich Besseler; Hans
Gruss. For orchestra (3
trumpets/timpani/2
oboes/2
violins/viola/basso
continuo (cello/double
bass/harpsichord)). This
edition: Stapled, Urtext
edition. Score. Text
Language: German/English.
BWV 1068. 50 pages.
Duration 24'. Published
by Baerenreiter Verlag
(for the victims of the September 11, 2001 attacks and all victims of senseless ...(+)
(for the victims of the
September 11, 2001
attacks and all victims
of senseless violence).
By Rene Clausen.
Orchestra. For Piccolo, 2
Flutes, 2 Oboes, English
Horn, 2 Clarinets, Bass
Clarinet, 2 Bassoons, 4
Horns, 3 Trumpets, 2
Trombones, Bass Trombone,
Tuba, Timpani, Cymbals,
Mallets, Snare Drum, Bass
Drum, Percussion, Harp,
Piano, 2 Violins, Viola,
Cello, Double Bass.
Concert. Orchestral Full
Score and Parts.
Published by Roger Dean
Publishing
(Through the Passion and Resurrection of Christ). By Pepper Choplin. Arranged by...(+)
(Through the Passion and
Resurrection of Christ).
By Pepper Choplin.
Arranged by Stan Pethel.
Orchestra. For Flute,
Oboe, English Horn, Penny
Whistle, 2 Trumpets, 2
Trombones, Dulcimer,
Autoharp, Guitar, Banjo,
opt. Mandolin, 2
Percussion, Timpani,
Piano, 2 Violins, Viola,
Cello, and Bass. Cantata.
Choral: Easter, Holy
Week. Orchestral Score
and Parts. Published by
Lorenz Publishing Company
By Antonio Carlos Jobim. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by ...(+)
By Antonio Carlos Jobim.
Edited by Rob Duboff and
Jeffrey Sultanof.
Arranged by Claus
Ogerman. For studio
orchestra (English Vocal,
Portuguese Vocal,
Woodwind 1: Piccolo/Bass
Flute (Alto Flute Alt
Part)/C Flute, Woodwind
2: Piccolo/Bass Flute
(Alto Flute Alt Part)/C
Flute/Alto Flute,
Woodwind 3: Bass Flute
(Alto Flute Alt Part)/C
Flute/Alto Flute,
Woodwind 4: Bass Flute).
Recorded by Antonio
Carlos Jobim. Bossa Nova.
Medium. Score and parts.
Published by Jazz Lines
Publications
La Mer Orchestre [Conducteur d'étude / Miniature] Barenreiter
(Trois esquisses symphoniques). Composed by Claude Debussy (1862-1918). Edited b...(+)
(Trois esquisses
symphoniques). Composed
by Claude Debussy
(1862-1918). Edited by
Douglas Woodfull-Harris.
For orchestra (2
flutes/soprano flute/2
oboes/english
horn/clarinet/2
bassoons/5
contrabassoons/2
trumpets/horn/2
trombones/tuba/percussion
/celeste/2
harps/strings). This
edition: Urtext edition.
Paperback. Study score.
Text Language:
English/French/German.
Duration 10 minutes.
Published by Baerenreiter
Verlag
Orchestra - Grade 3 SKU: AP.4323 Composed by William Selby. Arranged by A...(+)
Orchestra - Grade 3
SKU: AP.4323
Composed by William
Selby. Arranged by Art
Sheinberg. MakeMusic
Cloud; Masterworks;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Form: Fugue.
Baroque; Masterwork
Arrangement. Score and
Part(s). 136 pages.
Highland/Etling #00-4323.
Published by
Highland/Etling
(AP.4323).
UPC:
038081026213.
English.
Art
Sheinberg has discovered
a gem from the late
English Baroque keyboard
literature and expertly
scored it to sound as if
it were originally for
strings. The violin ll
and viola parts are often
doubled, as are the cello
and bass parts; there are
essentially three parts
throughout. This gives a
full and balanced sound
which accommodates uneven
instrumentation. Violin l
parts are in third
position much of the
time, and alternate
fingerings given for the
other parts will keep
other advanced players
busy. The piece is in D
major throughout, with
the exception of brief
excursions into A and B
minor. Full of rhythmic
drive and sparkling
counterpoint, the piece
is a sure winner with
students and an excellent
vehicle to teach detached
style and ensemble
independence. This title
is available in MakeMusic
Cloud.
Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen, Chri...(+)
Composed by Franz Joseph
Haydn (1732-1809). Edited
by Andreas Friesenhagen,
Christin Heitmann. For
orchestra. This edition:
Urtext edition. Stapled.
Score. Text Language:
German/English. Hob.
I:48. Duration 27
minutes. Published by
Baerenreiter Verlag
By Gioachino Rossini. Edited by Tommy J. Fry. Arranged by Erik W. G. Leidzen. Co...(+)
By Gioachino Rossini.
Edited by Tommy J. Fry.
Arranged by Erik W. G.
Leidzen. Concert Band.
For Piccolo, Flute I,
Flute II, Oboe I, Oboe
II, English Horn,
Clarinet I, Clarinet II,
Clarinet III, Bass
Clarinet, Bassoon I,
Bassoon II, Alto
Saxophone I, Alto
Saxophone II, Tenor
Saxophone, Baritone
Saxophone, Trumpet I,
Trumpet II, Trumpet III,
Trumpet IV, Horn I, Horn
II, Horn III, Horn IV,
Tenor I, Tenor II, Tenor
III, Euphonium, Tuba,
Contrabass, Timpani,
Snare Drum, Xylophone,
Triangle, Suspended
Cymbal, Bass Drum. Carl
Fischer Classic Band
Editions. Level: Grade 6.
Score and Set of Parts.
79 pages. Duration 3:15.
Published by Carl
Fischer.
East Of The Sun Orchestre [Conducteur et Parties séparées] Jazz Lines Publications
By Charlie Parker With Strings. Edited by Rob Duboff and Jeffrey Sultanof. Arran...(+)
By Charlie Parker With
Strings. Edited by Rob
Duboff and Jeffrey
Sultanof. Arranged by Joe
Lipman. For studio
orchestra (Alto
Saxophone, Oboe/English
Horn, Horn in F, 4
Violins, 2 Violas, Cello,
Harp, Guitar,
Piano/Celeste, Bass,
Drums). Recorded by
Charlie Parker with
Strings. Swing. Medium.
Score and parts.
Published by Jazz Lines
Publications
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
(Erganzungen und Vervollstandigungen. Vortrage, Europaisches Musikfest Stuttgart...(+)
(Erganzungen und
Vervollstandigungen.
Vortrage, Europaisches
Musikfest Stuttgart
2006). By Wolfgang
Amadeus Mozart
(1756-1791). Edited by
Michael Gassmann. This
edition: Paperback.
Schriftenreihe der
Internat. Bachakademie
Stuttgart, Bd. 15. Book.
Language: German/English.
KV 427. 364 pages.
Published by Baerenreiter
Verlag
By Antonin Dvorak (1841-1904). Edited by Jonathan Del Mar. For orchestra. This e...(+)
By Antonin Dvorak
(1841-1904). Edited by
Jonathan Del Mar. For
orchestra. This edition:
Urtext edition.
Paperback. Score.
English/Czech/German. No.
7, Op. 70. Duration 38
minutes. Published by
Baerenreiter Verlag
Orchestra - Grade 2.5 SKU: AP.BSO9909C Arranged by Robert W. Smith. Perfo...(+)
Orchestra - Grade 2.5
SKU: AP.BSO9909C
Arranged by Robert W.
Smith. Performance Music
Ensemble; String
Orchestra. Belwin
Intermediate String
Orchestra. Christmas;
Winter. Score. 12 pages.
Duration 2:23. Belwin
Music #00-BSO9909C.
Published by Belwin Music
(AP.BSO9909C).
UPC:
029156989748.
English.
Based on
the classically familiar
Greensleeves, here is a
poignant setting with
musical lines from
forceful to flowing.
Robert W. Smith stamps
the work with his unique
sound sculpturing to give
a highly atmospheric
scoring. Minimal
rehearsal time will be
needed to assure a
dramatic performance.
Intense and satisfying!
(2:23).
By Bedrich Smetana (1824-1884). Edited by Frantisek Bartos. This edition: Urtext...(+)
By Bedrich Smetana
(1824-1884). Edited by
Frantisek Bartos. This
edition: Urtext edition.
Paperback. Study score,
Urtext edition. Language:
Czech/English/German.
Duration 1 hour, 15
minutes. Published by
Baerenreiter Verlag
Orchestra - Grade 3 SKU: AP.49898 From African Suite. Composed by ...(+)
Orchestra - Grade 3
SKU: AP.49898
From African
Suite. Composed by
Samuel Coleridge-Taylor.
Arranged by Kirk Moss.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Form: Dance. Masterwork
Arrangement. Score and
Part(s). Duration 3:00.
Belwin Music #00-49898.
Published by Belwin Music
(AP.49898).
ISBN
9781470657314. UPC:
038081575469.
English.
Originally
composed for piano as the
final movement of African
Suite, Danse begins with
two introductory chords
followed by energetic
swinging rhythms and
repeated angular
melodies. Students will
love the moods in this
festive overture,
evocative of later
Broadway musicals. The
artistic turning point of
Samuel Coleridge-Taylor's
career happened in his
twenties when he met the
African-American poet
Paul Laurence Dunbar.
Dunbar influenced the
young composer to
concentrate on his
African heritage. Born in
suburban London to Alice
Martin, an Englishwoman
and the daughter of a
blacksmith, his father,
Dr. Daniel Peter Hughes
Taylor, was a Creole of
Sierra Leone who
qualified as a Member of
the Royal College of
Surgeons (MRCS) and
returned to Africa before
his son's birth. Called
Coleridge by his family,
he was raised in Croydon,
Surrey, by his mother and
her father, Benjamin
Holmans, who taught him
the violin. (3:00).
Orchestra (Study Score) SKU: HL.49004865 Score. Composed by Werner...(+)
Orchestra (Study Score)
SKU: HL.49004865
Score. Composed by
Werner Egk. Edition
Schott. Classical. Book
with Audio-Online.
Composed 1952. 132 pages.
Schott Music #ED4408.
Published by Schott Music
(HL.49004865).
ISBN
9781423413134. UPC:
073999276947.
6.0x9.0x0.366
inches.
Diction
lessons on each aria in
the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Composed by Edward Elgar.
Edited by Barbara Mohn.
Carus digital: Extra
digital products. Full
Score. Composed 1900. Op.
38. Duration 100 minutes.
Carus Verlag #2300400.
Published by Carus Verlag
(CA.2300400).
ISBN
9790007240783.
English/German. Text:
Newman, John
Henry.
This is the
best of me, wrote Edward
Elgar after the final
measure of his Dream of
Gerontius. Premiered in
1900, in Great Britain
the work has long been a
standard work in the
repertoire of large
oratorio choirs. Elgar's
moving, poetic setting of
the eponymous poem by
Cardinal John Henry
Newman is about a dying
man and his journey
beyond death to God.
Before the eyes of the
listeners, a musical
image of the soul is
created which flies past
mocking demons to God
with its protecting angel
at its side, is allowed
to look at God briefly,
then faces the purgatory
confident and comforted.
The work is a real rarity
in the history of
oratorio, and for large
choirs it is a thrilling
alternative to the
established repertoire of
Requiem settings. Its
popularity is thanks to
the suggestive, often
sensuous power of the
music, the great choral
scenes of the demons and
the angels, and the three
impressive solo
parts.All
previous editions were
reprints based on the
historic first printed
materials, which are
inconsistent. By
contrast, Carus has
produced a modern,
newly-engraved edition,
compatible in all
sections, which takes all
the sources into
consideration and
evaluates the autograph
manuscript in detail. For
this edition the complete
orchestral material is
available on sale, and
the vocal score and full
score contain both
English and German
singing texts. The full
score is also available
digitally.*,A milestone of late
Romantic choral music,
and a standard work in
Great Britain*,First
modern score with a full
Critical Report and
complete performance
material- English and
german singing
texts
Composed by Edward Elgar.
Edited by Barbara Mohn.
Vocal score. Composed
1900. Op. 38. Duration
100 minutes. Carus Verlag
#2300403. Published by
Carus Verlag
(CA.2300403).
ISBN
9790007240790.
English/German. Text:
Newman, John
Henry.
This is the
best of me, wrote Edward
Elgar after the final
measure of his Dream of
Gerontius. Premiered in
1900, in Great Britain
the work has long been a
standard work in the
repertoire of large
oratorio choirs. Elgar's
moving, poetic setting of
the eponymous poem by
Cardinal John Henry
Newman is about a dying
man and his journey
beyond death to God.
Before the eyes of the
listeners, a musical
image of the soul is
created which flies past
mocking demons to God
with its protecting angel
at its side, is allowed
to look at God briefly,
then faces the purgatory
confident and comforted.
The work is a real rarity
in the history of
oratorio, and for large
choirs it is a thrilling
alternative to the
established repertoire of
Requiem settings. Its
popularity is thanks to
the suggestive, often
sensuous power of the
music, the great choral
scenes of the demons and
the angels, and the three
impressive solo
parts.All
previous editions were
reprints based on the
historic first printed
materials, which are
inconsistent. By
contrast, Carus has
produced a modern,
newly-engraved edition,
compatible in all
sections, which takes all
the sources into
consideration and
evaluates the autograph
manuscript in detail. For
this edition the complete
orchestral material is
available on sale, and
the vocal score and full
score contain both
English and German
singing texts. The full
score is also available
digitally.*,A milestone of late
Romantic choral music,
and a standard work in
Great Britain*,First
modern score with a full
Critical Report and
complete performance
material- English and
german singing
texts
Orchestra SKU: CF.PO192S On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192S
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown.
Condensed score. Carl
Fischer Music #PO192S.
Published by Carl Fischer
Music (CF.PO192S).
ISBN 9781491157367.
UPC:
680160915927.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
Orchestra SKU: CF.PO192F On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192F
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown. Full
score. Carl Fischer Music
#PO192F. Published by
Carl Fischer Music
(CF.PO192F).
ISBN
9781491157374. UPC:
680160915934.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
By Mark Hayes. Orchestra. For SATB divisi Choir, Solo Quartet, flute/piccolo, ob...(+)
By Mark Hayes. Orchestra.
For SATB divisi Choir,
Solo Quartet,
flute/piccolo,
oboe/english horn,
clarinet, bassoon, horn,
trumpet, percussion,
harp, piano (for
rehearsal only), violin 1
and 2, viola, cello, bass
(with optional orchestra:
Flute/Piccolo,
Oboe/English Horn,
Clarinet, Bassoon, Horn,
Trumpet, Percussion,
Harp, Piano (for
rehearsal only), Violin 1
and 2, Viola, Cello,
Bass). Christmas,
General. Orchestral Score
and Parts. Published by
Roger Dean Publishing
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.