|
| First Recital Series for Bb Bass T.C./B.C.
Bass Clef Instruments [Partition + CD] - Facile
Curnow Music
Solos for Beginning Through Early Intermediate Level Musicians. Curnow Play-Alon...(+)
Solos for Beginning
Through Early
Intermediate Level
Musicians. Curnow
Play-Along Book. Size
9x12 inches. 28 pages.
Published by Curnow
Music.
$12.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Puccini Highlights
Orchestre d'harmonie - Facile
De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1084420-010 Composed by Giaco...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1084420-010
Composed by Giacomo
Puccini. Arranged by Wil
van der Beek. Great
Classics. Classical. Set
(Score and Parts).
Composed 2007. De Haske
Publications #DHP
1084420-010. Published by
De Haske Publications
(BT.DHP-1084420-010).
9x12 inches.
English-German-French-Dut
ch. Giacomo Puccini
was one of the all time
great opera composers
andis especially famed
for his wonderful,
warm-blooded melodies,
hiscolourful
instrumentations, his
compelling dramatics, his
musicalfantasy and his
power to reflect exotic
ambiences in sounds.
ForPuccini Highlights,
Wil van der Beek has made
use of musical
materialfrom the tenor
aria â??E lucevan le
stelleâ?? (Tosca), the
choral aria â??Girala
coteâ?? (Turandot) and
the soprano aria â??Un
bel di vedremoâ??
(MadamButterfly). An
operatic masterpiece that
will go down a storm at
anyconcert.
Puccin
i wordt geroemd om zijn
warmbloedige
melodieën, kleurrijke
instrumentaties,
meeslepende dramatiek en
muzikale fantasie.
Opvallend veel
Puccini-ariaâ??s zijn
buiten hun eigenlijke
context aantrekkelijk
gebleken voor de
concertpraktijk.Voor
Puccini Highlights
heeft Wil van der Beek
gebruik gemaakt van
muzikaal materiaal uit de
tenoraria â??E lucevan
le stelleâ??
(Tosca), de
kooraria â??Gira la
coteâ??
(Turandot) en de
sopraanaria â??Un bel
divedremoâ?? (Madama
Butterfly).
Pu
ccini war zweifellos
einer der erfolgreichsten
italienischen
Opernkomponisten aller
Zeiten. Viele seiner
Arien haben sich auch als
beliebte Konzertstücke
auÃ?erhalb ihres
eigentlichen Kontexts
bewährt. Für
Puccini Highlights
verwendete Wil van der
Beek musikalisches
Material aus der
Tenorarie E Lucevan le
Stelle aus
Tosca, der
Chorarie Gira la
Cote aus
Turandot sowie der
Sopranarie Un Bel di
Vedremo aus Madama
Butterfly.
Gia
como Puccini (1858-1924)
est, après Verdi,
lâ??un des plus grands
représentants de
lâ??opéra italien. Il
reste célèbre pour
les teintes sublimes de
ses mélodies
chaleureuses, ses
orchestrations
colorées, ses drames
envo tants, sa
créativité musicale
et son incroyable
capacité délivrer
des ambiances exotiques
travers des textures
sonores.Parmi les
classiques des opéras
pucciniens, on peut citer
Manon Lescaut, La
Bohème, Tosca, Madame
Butterfly et
Turandot. Il est
également frappant de
constater que de nombreux
airs de Puccini, même
sortis de leur contexte
dâ??origine, sont
parfaitement adaptés
une interprétation en
concert.Pour réaliser
cet arrangement, Wil van
derBeek a puisé dans
le tissu musical de
lâ??air pour ténor
E lucevan le stelle
(Tosca), dans le
ch?ur dâ??opéra
Gira la cote! Gira!
(Turandot) et dans
lâ??air pour soprano
Un bel di vedremo
(Madame
Butterfly). $155.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Puccini Highlights
Orchestre d'harmonie [Conducteur] - Facile
De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1084420-140 Composed by Giaco...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1084420-140
Composed by Giacomo
Puccini. Arranged by Wil
van der Beek. Great
Classics. Classical.
Score Only. Composed
2007. 24 pages. De Haske
Publications #DHP
1084420-140. Published by
De Haske Publications
(BT.DHP-1084420-140).
9x12 inches.
English-German-French-Dut
ch. Giacomo Puccini
was one of the all time
great opera composers
andis especially famed
for his wonderful,
warm-blooded melodies,
hiscolourful
instrumentations, his
compelling dramatics, his
musicalfantasy and his
power to reflect exotic
ambiences in sounds.
ForPuccini Highlights,
Wil van der Beek has made
use of musical
materialfrom the tenor
aria ‘E lucevan le
stelle’ (Tosca),
the choral aria
‘Girala
cote’ (Turandot)
and the soprano aria
‘Un bel di
vedremo’
(MadamButterfly). An
operatic masterpiece that
will go down a storm at
anyconcert.
Puccin
i wordt geroemd om zijn
warmbloedige
melodieën, kleurrijke
instrumentaties,
meeslepende dramatiek en
muzikale fantasie.
Opvallend veel
Puccini-aria’s
zijn buiten hun
eigenlijke context
aantrekkelijk gebleken
voor de
concertpraktijk.Voor
Puccini Highlights
heeft Wil van der Beek
gebruik gemaakt van
muzikaal materiaal uit de
tenoraria ‘E
lucevan le stelle’
(Tosca), de
kooraria ‘Gira la
cote’
(Turandot) en de
sopraanaria ‘Un bel
divedremo’
(Madama
Butterfly).
Pu
ccini war zweifellos
einer der erfolgreichsten
italienischen
Opernkomponisten aller
Zeiten. Viele seiner
Arien haben sich auch als
beliebte Konzertstücke
außerhalb ihres
eigentlichen Kontexts
bewährt. Für
Puccini Highlights
verwendete Wil van der
Beek musikalisches
Material aus der
Tenorarie E Lucevan le
Stelle aus
Tosca, der
Chorarie Gira la
Cote aus
Turandot sowie der
Sopranarie Un Bel di
Vedremo aus Madama
Butterfly.
Gia
como Puccini (1858-1924)
est, après Verdi,
l’un des plus
grands représentants
de l’opéra
italien. Il reste
célèbre pour les
teintes sublimes de ses
mélodies chaleureuses,
ses orchestrations
colorées, ses drames
envo tants, sa
créativité musicale
et son incroyable
capacité délivrer
des ambiances exotiques
travers des textures
sonores.Parmi les
classiques des opéras
pucciniens, on peut citer
Manon Lescaut, La
Bohème, Tosca, Madame
Butterfly et
Turandot. Il est
également frappant de
constater que de nombreux
airs de Puccini, même
sortis de leur contexte
d’origine, sont
parfaitement adaptés
une interprétation en
concert.Pour réaliser
cet arrangement, Wil van
derBeek a puisé dans
le tissu musical de
l’air pour
ténor E lucevan le
stelle (Tosca), dans
le chœur
d’opéra Gira
la cote! Gira!
(Turandot) et dans
l’air pour soprano
Un bel di vedremo
(Madame
Butterfly). $30.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| White Light
Hautbois, Piano (duo) - Intermédiaire
Anglo Music
Oboe and Piano - intermediate SKU: BT.AMP-343-401 For Oboe and Piano(+)
Oboe and Piano -
intermediate SKU:
BT.AMP-343-401 For
Oboe and Piano.
Composed by Philip
Sparke. Anglo
Instrumental series. Book
Only. Composed 2012. 16
pages. Anglo Music Press
#AMP 343-401. Published
by Anglo Music Press
(BT.AMP-343-401). ISBN
9789043138628. 9x12
inches.
English-German-French-Dut
ch. White
Light was
commissioned by Fumiko
Teramoto, oboist with the
Musashino Grand Concert
Band from Tokyo, Japan.
The request was for a
moderately slow piece, of
intermediate difficulty,
which included White in
the title, as this is her
lucky colour. Composer
Philip Sparke decided to
use this suggestion to
write a piece that was
bright and light in terms
of harmony and colour,
with much use of simple
major and minor chords
and an emphasis on pure
and transparent timbres.
He was also keen to
capture the essence and
history of the oboe as a
solo instrument - the
piece is pastoral in
character and often
almost baroque in style.
Also available for oboe
and concert band
(AMP317-010/140).
Wit is de
gelukskleur van het
opdrachtgevende orkest
van dit uitdagende
solowerk voor hobo en
piano. Philip Sparke
schreef daarom een
opgewekte compositie. Het
zwaartepunt ligt op de
heldere klanken van het
hoge hout en de
harmonie,klankkleur en
instrumentatie is helder
en doorzichtig.Ook
verkrijgbaar voor hobo en
harmonieorkest (AMP
317-010/140).
Wei
Ÿ ist die
Glücksfarbe des
auftraggebenden
Blasorchesters und daher
im Titel dieses Solowerks
für Oboe und
Klavier. Passend dazu
schuf Philip Sparke ein
Stück, das sowohl
heiter als auch hell in
seiner Harmonik, seinen
Farben und seiner
Orchestrierung ist, viele
einfache Dur- und
Mollakkorde enthält
und den Schwerpunkt auf
die klaren Klänge der
hohen Holzbläser im
Orchester legt. Ebenfalls
erhältlich für Oboe
und Blasorchester (AMP
317-010/140).
Les
indications données
étaient les suivantes
: une pièce
modérément lente et
de difficulté moyenne
; enfin, le mot
‘blanc ‘
devait figurer dans le
titre, faisant ainsi
allusion la couleur
fétiche de l'orchestre
dédicataire. C'est en
s'inspirant de ces
quelques éléments
que Philip Sparke composa
White Light, une
pièce lumineuse et
harmonieusement
légère. De
caractère pastoral et
de style plutôt
baroque, White
Light expose avec
passion la quintessence
du hautbois. Disponible
en version Hautbois et
piano, elle existe
également pour
Hautbois solo et
orchestre
d'harmonie.
In
questo lavoro per oboe
solista e pianoforte,
Philip Sparke crea un
pezzo che è allo
stesso tempo allegro e
luminoso nella sua
armonia e nei colori, e
che nell'orchestrazione
contiene molti semplici
accordi maggiori e
minori. Disponibile anche
per oboe e banda (AMP
317-010/140). $28.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Concerto in E Major
Trompette
Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet SKU:
CF.W2682 For
Trumpet in E and Piano,
S.49. Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (CF.W2682).
ISBN 9781491144954.
UPC: 680160902453. 9 x 12
inches. Key: E
major. Edited by
Elisa Koehler, Associate
Professor and Chair of
the Music Department at
Goucher College, this new
edition of Johann Nepomuk
Hummel's Concerto in E
Major for trumpet in E
and piano presented in
its original key.
The
concerto by Johann
Nepomuk Hummel
(1778–1837)holds a
unique place in the
trumpet repertoire. Like
theconcerto by Joseph
Haydn (1732–1809)
it was written forthe
Austrian trumpeter Anton
Weidinger
(1766–1852) andhis
newly invented keyed
trumpet, performed a few
timesby Weidinger, and
then forgotten for more
than 150 yearsuntil it
was revived in the
twentieth century. But
unlikeHaydn’s
concerto in Eb major,
Hummel’s Concerto
a Trombaprincipale (1803)
was written in the key of
E major for atrumpet
pitched in E, not
E≤. This difference
of key proved tobe quite
a conundrum for
trumpeters and music
publishersin the
twentieth century. The
first modern edition,
publishedby Fritz Stein
in 1957, transposed the
concerto down onehalf
step into the key of
E≤ to make it more
playable on atrumpet in
Bb, which had become the
standard instrumentfor
trumpeters by the middle
of the twentieth
century.Armando Ghitalla
made the first recording
of the Hummel in1964 in
the original key of E (on
a C-trumpet) after
editinga performing
edition in 1959 in the
transposed key of
E≤ (forBb trumpet)
published by Robert King
Music. Needless tosay,
the trumpet had changed
dramatically in terms of
design,manufacture, and
cultural status between
1803 and 1957, andthe
notion of classical solo
repertoire for the modern
trumpetwas still in its
formative stages when the
Hummel concertowas
reborn.These factors
conspired to create
confusion regarding
thenumerous
interpretative challenges
involved in performingthe
Hummel concerto according
to the composer’s
originalintentions on
modern trumpets. For
those seeking the
bestscholarly
information, a facsimile
of Hummel’s
originalmanuscript score
was published in 2011
with a separatevolume of
analytical commentary by
Edward H. Tarr,1 whoalso
published the first
modern edition of the
concertoin the original
key of E major (Universal
Edition, 1972).This
present
edition—available
in both keys: Eb and
Emajor—strives to
build a bridge between
scholarship
andperformance traditions
in order to provide
viable options forboth
the purist and the
practitioner.Following
the revival of the Haydn
trumpet concerto, acase
could be made that some
musicians were
influencedby a type of
normalcy bias that
resulted in
performancetraditions
that attempted to make
the Hummel morelike the
Haydn by putting it in
the same key,
insertingunnecessary
cadenzas, and adding
trills where they
mightnot belong.2 Issues
concerning tempo and
ornamentationposed
additional challenges. As
scholarship and
performancepractice
surrounding the concerto
have become betterknown,
trumpeters have
increasingly sought to
performthe concerto in
the original key of E
major—sometimes
onkeyed
trumpets—and to
reconsider more recent
performancetraditions in
the transposed key of
Eb.Regardless of the key,
several factors need to
be addressedwhen
performing the Hummel
concerto. The most
notoriousof these is the
interpretation of the
wavy line (devoid of
a “trâ€
indication), which
appears in the second
movement(mm. 4–5
and 47–49) and in
the finale (mm.
218–221).
InHummel’s
manuscript score, the
wavy line resembles a
sinewave with wide,
gentle curves, rather
than the tight,
buzzingappearance of a
traditional trill line.
Some have argued that
itmay indicate intense
vibrato or a fluttering
tremolo betweenopen and
closed fingerings on a
keyed trumpet.3 In
Hummel’s1828 piano
treatise, he wrote that a
wavy line without a
“trâ€sign
indicates uneigentlichen
Triller oder den
getrillertenNoten
[“improperâ€
trills or the notes that
are trilled],
andrecommends that they
be played as main note
trills that arenot
resolved [ohne
Nachschlag].4
Hummel’s piano
treatisewas published
twenty-five years after
he wrote the
trumpetconcerto, and his
advocacy for main note
trills (rather thanupper
note trills) was
controversial at the
time, so trumpetersshould
consider all of the
available options when
formingtheir own
interpretation of the
wavy line.Unlike Haydn,
Hummel did not include
any fermatas
wherecadenzas could be
inserted in his trumpet
concerto. The endof the
first movement, in
particular, includes
something likean
accompanied cadenza
passage (mm.
273–298), a
featureHummel also
included at the end of
the first movement ofhis
Piano Concerto No. 5 in
Ab Major, Op. 113 (1827).
Thethird movement
includes a quote
(starting at m. 168)
fromCherubini’s
opera, Les Deux
Journées (1802), that
diverts therondo form
into a coda replete with
idiomatic fanfares
andvirtuosic figuration.5
Again, no fermata appears
to signal acadenza, but
the obbligato gymnastics
in the solo trumpetpart
function like an
accompanied cadenza.Other
necessary considerations
include tempo choicesand
ornamentation. Hummel did
not include
metronomemarkings to
quantify his desired
tempi for the
movements,but clues may
be gleaned through the
surface evidence(metric
pulse, beat values,
figuration) and from the
stratifiedtempo table
that Hummel included in
his 1828 piano
treatise,where the first
movement’s
“Allegro con
spirito†is
interpretedas faster than
the “Allegroâ€
(without a modifier) of
the finale.6In the realm
of ornamentation, Hummel
includes severalturns and
figures that are open to
interpretation. This
editionincludes
Hummel’s original
symbols (turns and
figuration)along with
suggested realizations to
provide musicians
withoptions for forming
their own
interpretation.Finally,
trumpeters are encouraged
to listen to Mozart
pianoconcerti as an
interpretive context for
Hummel’s
trumpetconcerto. Hummel
was a noted piano
virtuoso at the end ofthe
Classical era, and he
studied with Mozart in
Vienna asa young boy.
Hummel also composed his
own cadenzas forsome of
Mozart’s piano
concerti, and the
twenty-five-year-oldcompo
ser imitated
Mozart’s
orchestral gestures and
melodicfiguration in the
trumpet concerto (most
notably in the
secondmovement, which
resembles the famous slow
movement
ofMozart’s Piano
Concerto No. 21 in C
Major, K. 467). $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Caminemos con Jesús
GIA Publications
SKU: GI.G-1064 Composed by Tony Alonso S.J. Sacred. GIA Publications #106...(+)
SKU: GI.G-1064
Composed by Tony Alonso
S.J. Sacred. GIA
Publications #1064.
Published by GIA
Publications (GI.G-1064).
UPC:
785147006428. From
the music of the Buena
Vista Social Club to
Gloria Estefan, the
lyrical melodies and
infectious rhythms of
Cuban music have become
embedded in U.S. culture.
With Caminemos con
Jesús / Let Us Walk
with Jesus, composer Tony
Alonso presents a
groundbreaking collection
of liturgical music that
calls on his own Cuban
musical heritage to
provide new ways of
singing the liturgy in
Spanish, English or
bilingually. The first
project of its kind,
Caminemos con Jesús
not only utilizes rich
Cuban idioms but also
explores what style and
musical form can teach us
about praying together
across cultural and
linguistic boundaries.
The dynamic
call-and-response form
that is a hallmark of
traditional Cuban music
makes these songs
especially compelling
choices for bilingual
worship, allowing
assemblies to learn,
internalize, and pray
easily in both Spanish
and English.
“Qué AlegrÃa
Cuando Me Dijeron / I
Rejoiced When I Heard
Them Say†uses the
words of the psalm as a
rhythmic mantra, creating
a fresh and engaging way
to gather as the Body of
Christ. “LetanÃa
a la Madre de las
Américas / Litany of
Mary of The
Americas,†invokes
the Mary of many names
and nations with a simple
yet strong response that
will enliven Marian
feasts throughout the
year. The gentle
simplicity of “Tres
Guajiros / Three
Peasantsâ€
re-imagines the story of
the Magi as humble
peasants bringing gifts
of the land to honor the
newborn Jesus. Also, in
this collection and for
the first time in
published form, is Gloria
Estefan’s
“Caridad,†a
powerful and poetic
prayer to Our Lady of
Charity, the patroness of
Cuba. All of the pieces
of this collection focus
on the importance of
bringing the voices of
the assembly to the
forefront while the
arrangements are
skillfully crafted to be
accessible to musicians
of all abilities. In
addition to the
spiral-bound edition,
individual octavos, and
flute and brass parts,
Caminemos con Jesús
offers a special edition
featuring parts for
guitar, percussion and
other instruments central
to Cuban music. The
studio recording is a
stunning source of prayer
and inspiration, produced
in Miami by Grammy Award
winner Juan Delgado and
featuring some of the
finest Cuban-American
musicians today. GIA
Publications, Inc. is
committed to responding
to the rich diversity of
the contemporary Church.
With Caminemos con
Jesús, we offer you
our very best bilingual
music for the liturgical
year. “The
music of my
father’s Cuban
homeland has been the
language of my heart for
as long as I can
remember. These songs
infuse that rich
tradition with the unique
sabor of my own
experience as a
Cuban-American in a
distinctly liturgical
shape that I hope will
inspire others in their
daily camino con
Jesús.â€
–Tony Alonso
Featuring “Live
Mercy, Be Holy / Vive la
Misericordia, Vive la
Santidad,†the 2020
Los Angeles Religious
Education Congress theme
song! Desde la música
de Buena Vista Social
Club hasta la de Gloria
Estefan, las melodÃas
lÃricas y ritmos
contagiosos de la
música cubana son
incrustados en la cultura
estadounidense. Con
Caminemos con Jesús /
Let Us Walk with Jesus,
el compositor Tony Alonso
presenta una colección
innovadora de música
litúrgica que
incorpora su herencia
musical cubana para
producir una manera nueva
de cantar la liturgia
— en español,
inglés o
bilingüemente. El
primer proyecto de este
tipo, Caminemos con
Jesús no sólo
utiliza modismos ricos de
Cuba sino también
explora lo que el estilo
y la forma musical nos
pueden enseñar con
respeto a rezar juntos a
través de los
lÃmites culturales y
lingüÃsticos.Â
La forma dinámica de
llamada-y-respuesta que
es un sello distintivo de
la música cubana
tradicional crea opciones
cautivadoras para los
rituales bilingües
donde la asamblea puede
aprender, interiorizar y
rezar facilmente tanto en
español como en
inglés. “Qué
AlegrÃa Cuando Me
Dijeron†incorpora
la letra del salmo como
una mantra rÃtmica,
creando una manera
original para congregar
al Cuerpo de Cristo. La
“LetanÃa a la
Madre de las
Américas,†la
cual invoca a la MarÃa
de muchos nombres y
naciones utilizando una
respuesta sencilla y
fuerte, enriquecerá a
las fiestas marianas de
muchos pueblos durante
todo el año. La
sencillez suave de
“Tres
Guajiros†reimagina
la historia de los Reyes
Magos como guajiros
humildes, trayendo
regalos de la tierra para
honrar al recién
nacido Jesús.
También se encuentra
en esta colección, por
la primera vez en forma
publicada, el tema
musical
“Caridad†por
Gloria Estefan, que es
una oración poderosa y
poética a Nuestra
Madre de Caridad, la
patrona de Cuba. Todas
las piezas en esta
colección se enfocan
en la importancia de las
voces de la asamblea
mientras los arreglos son
accesibles para los
músicos de todas
habilidades. Además de
la edición con
espiral, las partituras
corales individuales, y
las ediciones para flauta
y instrumentos de metal,
Caminemos con Jesús
también ofrece una
edición para guitarra
con partituras
adicionales para
percusión y otros
instrumentos centrales en
la música cubana. La
grabación del estudio
es espectacular, una
fuente de oración y
inspiración. Producido
en Miami por el ganador
de Grammy Juan Delgado,
el álbum destaca los
talentos de unos de los
mejores músicos
cubano-americanos de hoy
dÃa. GIA
Publications, Inc.
está comprometido a
responder a la diversidad
rica de la Iglesia
actual. En Caminemos con
Jesús, les ofrecemos
nuestra mejor música
bilingüe para todo el
año litúrgico.
“La música de la
tierra cubana de mi padre
ha sido el lenguaje de mi
corazón desde que yo
tengo memoria. Estas
canciones infunden esa
rica tradición del
sabor único de mi
propia experiencia como
cubanoamericano con una
forma claramente
litúrgica. Es mi deseo
que esta obra inspire a
los demás en su propio
camino diario con
Jesúsâ€.
–Tony AlonsoÂ
Incluye el canto tema,
“Vive la
Misericordia, Vive la
Santidad / Live Mercy, Be
Holy,†compuesto
para el Congreso de
Educación Religiosa de
Los Angeles del 2020.
CONTENTS / CONTENIDO:
Arriba los Corazones / We
Lift Up Our Hearts
• Caminemos con
Jesús / Let Us Walk
with Jesus •
Cántico de Daniel /
Canticle of Daniel
• Caridad / Our
Lady of Charity •
LetanÃa del Santo
Nombre de Jesús /
Litany of the Holy Name
of Jesus •
LetanÃa a la Madre de
las Américas / Litany
to the Mother of the
Americas • Qué
AlegrÃa Cuando Me
Dijeron / I Rejoiced When
I Heard them Say •
Una Gran Nube de Testigos
/ A Wondrous Cloud of
Witnesses • Tres
Guajiros / Three Peasants
• Vayan Por el
Mundo Entero / Go Out to
All the World •
Vive la Misericordia,
Vive la Santidad / Live
Mercy, Be Holy. Â . $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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