Percussion (Percussion Parts) SKU: HL.48184867 Composed by Adam Polachows...(+)
Percussion (Percussion
Parts)
SKU:
HL.48184867
Composed
by Adam Polachowski.
Leduc. Classical.
Softcover. 20 pages.
Alphonse Leduc #AL28184.
Published by Alphonse
Leduc (HL.48184867).
UPC: 888680796877.
9x12.25
inches.
“Born
in 1958, polish musician
Adam Polachowski studied
music at the Arts Academy
in Poznan, Poland before
being appointed as
percussionist at the
Poznan Wielki Theatre, as
well as performing
soloistically. As a
prolific percussionist
himself, Polachowski's
Seven Episodes for Snare
Drum and Bass Drum are
very well-informed.
Polachowski's study book
is intended for
percussionists who have
already mastered Bass
Drum pedal technique.
Seven Episodes for Snare
Drum and Bass Drum
addresses varying
rhythmic combinations,
counterpoint, different
timbres, dynamic
variations and changes of
tempo. A helpful glossary
is included and, with
written instruction in
French, English, German,
Spanish and Italian,
Polachowski's study book
is highly accessible. For
all aspiring
percussionists, Seven
Episodes for Snare Drum
and Bass Drum is
essential.&rdquo.
Violin, guitar SKU: GH.GE-11945 Five Episodes for violin and guitar(+)
Violin, guitar
SKU:
GH.GE-11945
Five
Episodes for violin and
guitar. Composed by
Benjamin Staern. Playing
score. Duration 12
minutes. Gehrmans
Musikforlag #GE 11945.
Published by Gehrmans
Musikforlag
(GH.GE-11945).
Composed by Leonard Bernstein (1918-1990). Arranged by Paul Lavender. Boosey and...(+)
Composed by Leonard
Bernstein (1918-1990).
Arranged by Paul
Lavender. Boosey and
Hawkes Concert Band.
Softcover. Boosey and
Hawkes #M051663552.
Published by Boosey and
Hawkes (HL.48023362).
Episodes Ensemble d'Accordéons - Avancé De Haske Publications
Accordion Orchestra - Grade 5 SKU: BT.DHP-1043273-060 Composed by Adolf G...(+)
Accordion Orchestra -
Grade 5
SKU:
BT.DHP-1043273-060
Composed by Adolf
Götz. Accordion.
Educational Tool. Set
(Score & Parts). Composed
2004. 32 pages. De Haske
Publications #DHP
1043273-060. Published by
De Haske Publications
(BT.DHP-1043273-060).
ISBN 9789043119276.
International.
In
deze compositie draait
het om de terts. Zoals
een persoon zijn of haar
voorkomen kan
transformeren door het
veranderen van kleding of
haardracht, zijn hier
alle mogelijkheden van de
terts gebruikt: majeur,
mineur, overmatig
enverminderd. Een zelfde
thema is in alle drie de
delen te herkennen. De
terts wordt steeds
gevarieerd en veranderd,
dat wil zeggen aangepast
aan de situatie. Het is
mogelijk om de drie delen
zonder langere pauzes te
spelen als eencompleet
stuk (attacca).
In
verschiedenen Situationen
(Episoden) reagiert eine
Person aufgrund ihrer
Charaktereigenschaften
und Verhaltensweisen
immer wieder ähnlich.
Daher legte Adolf Götz
in seiner Komposition
für Akkordeonorchester
ein aus der Terz
gestaltetes Thema allen
drei Sätzen zugrunde,
mal variiert und
umgestaltet und somit der
jeweiligen Situation
angepasst. Die Sätze
können nacheinander
oder ohne größere
Unterbrechungen als
geschlossenes Stück
(“attacca“)
aufgeführt
werden.
Based on Events and Episodes of Mozart's Life. By Wolfgang Amadeus Mozart. Arran...(+)
Based on Events and
Episodes of Mozart's
Life. By Wolfgang Amadeus
Mozart. Arranged by John
W. Schaum. For Piano.
Piano - Schaum Method
Supplement. Schaum Master
Composer Series. Level:
Late Elementary. Book. 32
pages. Published by
Alfred Publishing.
Wind Ensemble - advanced SKU: BT.BHL66356 Arranged by Paul Lavender. TV-F...(+)
Wind Ensemble - advanced
SKU: BT.BHL66356
Arranged by Paul
Lavender.
TV-Film-Musical-Show.
Score Only. 48 pages.
Boosey & Hawkes
#BHL66356. Published by
Boosey & Hawkes
(BT.BHL66356).
The 1944
musical On the Town
represents Leonard
Bernstein's first venture
onto the Broadway stage.
Inspired by his
successful ballet Fancy
Free, the musical follows
the adventures of three
sailors on shore leave in
New YorkCity and is
focused around a series
of dance episodes, three
of which Bernstein
selected for an
orchestral suite. Long
unavailable for band,
this 2016 edition is
beautifully transcribed
by Paul Lavender.
Third Rail Caisse Claire [Partition + CD-ROM] Tapspace Publications
(four episodes for solo snare and sequenced piano). By John Ling. For marching o...(+)
(four episodes for solo
snare and sequenced
piano). By John Ling. For
marching or concert snare
drum solo with audio
accompaniment (in-ear
headphones, PA system).
Advanced. Folio and
CD-ROM. 12 pages.
Duration 4'00 . Published
by Tapspace Publications
(TA
By Nathan Daughtrey. Chamber Ensemble. For Solo Piano (piano). Chamber Music. Me...(+)
By Nathan Daughtrey.
Chamber Ensemble. For
Solo Piano (piano).
Chamber Music. Medium
difficult. Solo part.
Duration 9:30. Published
by C. Alan Publications
. solo part.
Piano (4 hands) - intermediate SKU: HL.49007678 Two Episodes. Comp...(+)
Piano (4 hands) -
intermediate
SKU:
HL.49007678
Two
Episodes. Composed by
Hans-Jü and rgen von
Bose. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Composed 1991.
24 pages. Duration 10'.
Schott Music #ED 7963.
Published by Schott Music
(HL.49007678).
Chamber Music Piano SKU: PR.140401030 Five Thoughts for Piano. Com...(+)
Chamber Music Piano
SKU: PR.140401030
Five Thoughts for
Piano. Composed by
Sydney F. Hodkinson.
Saddle. Score. With
Standard notation.
Composed December 3 2007.
21 pages. Duration 18
minutes. Theodore Presser
Company #140-40103.
Published by Theodore
Presser Company
(PR.140401030).
UPC:
680160572182. 9.5 x 13
inches.
Episodes
was commissioned by and
dedicated to Dr. Michael
Rickman, professor of
piano at Stetson
University, Deland,
Florida. The work
challenges the alacrity
and dexterity of the
performer, says Ho
dkinson. Duration:
Approximately 18'.
Soprano voice and orchestra (Voice and Piano) - difficult SKU: HL.49019163(+)
Soprano voice and
orchestra (Voice and
Piano) - difficult
SKU: HL.49019163
Five episodes for
soprano and
orchestra. Composed
by Henri Dutilleux. This
edition: Saddle
stitching. Sheet music.
Vocal Solo. Softcover.
Composed 2007-2009. 32
pages. Duration 14'.
Schott Music #ED20320.
Published by Schott Music
(HL.49019163).
ISBN
9790001150804.
9.0x12.0x0.163 inches.
French.
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
Soprano voice solo, SATB choir and orchestra SKU: ST.D108 Composed by Jam...(+)
Soprano voice solo, SATB
choir and orchestra
SKU: ST.D108
Composed by James
McCarthy. For soprano
solo, SATB chorus and
orchestra. Libretto by
the composer, with words
selected and adapted from
various writers. James
McCarthy's acclaimed
cantata dramatically
recounts key episodes in
the story of Alan Turing,
the Second World War
codebreake. Vocal Score.
Stainer & Bell Ltd.
#D108. Published by
Stainer & Bell Ltd.
(ST.D108).
ISBN
9790220225628.
Jame
s McCarthy's Codebreaker
dramatically recounts key
episodes in the story of
Alan Turing, whose work
at Bletchley Park
decrypting the naval
Enigma codes helped save
countless lives during
the Second World War, and
whose legacy endures in
our contemporary digital
culture transformed by
computer science. Turing
is recalled as a
brilliant mathematician,
pioneer and prophet.
Above all, in a score
conceived in bold
contrasts of pathos and
dynamic energy, he is
remembered as a suffering
individual, an outsider
destroyed by the
unforgiving public
prejudice of his time,
yet whose complex and
sensitive inner being was
inseparable from his
genius. On the cusp of a
twenty-first century
revolution in artificial
intelligence, the
passionate, accessible
and visionary music of
Codebreaker urges us all
to regret past
misunderstandings, be
vigilant against
lingering bigotries, and
simply to hold in
reverence Turing's
inspiring achievement,
while wondering at the
cruel betrayal of an
ordinary-extraordinary
man who was also a
profound benefactor to
humankind.
Piano SKU: HL.14042802 Composed by Sadie Harrison. Music Sales America. S...(+)
Piano
SKU:
HL.14042802
Composed
by Sadie Harrison. Music
Sales America. Softcover.
University of York Music
Press #M570364602.
Published by University
of York Music Press
(HL.14042802).
These short
pieces are inspired by
the extraordinary piano
music of the little known
Yorkshire composer
William Baines. Baines
died in 1922 at the age
of 23 but left behind a
substantial catalogu
e of over 150 works.
Likened to that of
Scriabin, Baines’
piano music is
sensuous, highly
coloured and quite unlike
anything being written by
his British
contemporaries.
Shadows (Volume I)
are reflections on
episodes from
Baines’ life and
diary entries, each
piece incorporating
a chord, a gesture or a
figuration from one of
Baines’ solo piano
works. It
was particularly
fitting that the set
received its premiere in
Yorkshire inthe fabulous
surroundings
of Ripon
Cathedral.
These
short pieces are inspired
by the extraordinary
piano music of the little
known
Yorkshire composer
William Baines. Baines
died in 1922 at the age
of 23 but left behind a
substantial catalogu
e of over 150 works.
Likened to that of
Scriabin, Baines’
piano music is
sensuous, highly
coloured and quite unlike
anything being written by
his British
contemporaries.
Shadows (Volume
I) are
reflections on episodes
from Baines’ life
and diary entries, each
piece incorporating
a chord, a gesture or a
figuration from one of
Baines’ solo piano
works. It
was particularly
fitting that the set
received its premiere
inYorkshire in the
fabulous surroundings
of Ripon
Cathedral.
Countertenor and
Chamber Orchestra Vocal
Score. Composed by
Nico Muhly. Music Sales
America. Classical.
Softcover. Composed 2018.
48 pages. St. Rose Music
#SRO100089. Published by
St. Rose Music
(HL.276515).
UPC:
888680990671. 9x12
inches.
“S
entences is a
thirty-minute meditation,
in collaboration with
Adam Gopnik, on several
episodes drawn from the
life and work of Alan
Turing. Turing lived, in
a sense, many different
lives, but at the heart
of his work was, I think,
a very musical set of
anxieties. Even the idea
of code-breaking is
inherently musical; the
French for score-reading
is déchiffrage:
deciphering. His wartime
work on the Enigma code
translated, later in
life, to a more nuanced
relationship to code in
the form of a primitive
but emotionally (and
philosophically)
complicated artificial
intelligence. The piece
uses a single voice not
to speak necessarily as
Turing, but as a guide
through these various
episodes.
I've
always felt that the
question of sentient
computers is wildly
emotional: we
anthropomorphise the Mars
Rover, imagining its
solitude on that dusty
planet. Any act of
communication in which
the second person is
unseen can be a one-way
conversation. An email,
sent, can never be
returned - did it arrive
or did it not?, or a text
message can be delivered
but never read. The
thrill of a fast response
is immediately tempered
with the harsh but empty
rudeness of an
out-of-office reply.
Anybody who has made a
condolence phone call
only to hear the voice of
the deceased on the
outgoing answering
machine message knows the
complexities of what
could be a simple binary
communication.”
–Nico Muhly.
Violin and Piano - early intermediate SKU: BT.DHP-1115233-400 By Nico Dez...(+)
Violin and Piano - early
intermediate
SKU:
BT.DHP-1115233-400
By
Nico Dezaire. By
Ferdinand Kuchler. De
Haske Study and Play.
Book with CD. Composed
2011. 24 pages. De Haske
Publications #DHP
1115233-400. Published by
De Haske Publications
(BT.DHP-1115233-400).
ISBN 9789043136204.
9x12 inches.
English-German-French-Dut
ch.
The
Concertino op. 12
by the German violinist,
composer and violin
educator Ferdinand
Küchler (1867-1937) is
a three-movement work
that is ideal for the
development of playing in
first and third position.
The first movement is
both powerful and playful
in character, and its
themes that follow on
from each other rapidly,
producing a concise
sonata form. The second
movement has been written
in a three-part song form
(A-B-A). The A section
has a cantabile
atmosphere, whereas
section B is more
dramatic. The third
movement is a rondo (with
a refrain and episodes).
The refrain is joyful in
spirit, and the episodes
present
variation.
Het
Concertino op. 12
van Ferdinand Küchler
(1867-1937) is een
driedelig werk. Voor de
leerling is dit het
ideale werk om aan de
eerste en derde positie
te werken. Het eerste
deel is krachtig en
speels tegelijk. Het
tweededeel is in de vorm
van een driedelige lied
geschreven (A-B-A). Het
derde deel is een
rondo.
Das
Concertino op. 12
von Ferdinand Küchler
(1867-1937) ist ein
dreisätziges Werk, mit
dem Schüler
ausgezeichnet an ihrem
Spiel in der ersten und
dritten Lage arbeiten
können. Der erste Satz
ist kraftvoll und
verspielt zugleich; der
zweite Satz wurde in der
Form eines dreistimmigen
Liedes geschrieben
(A-B-A). Der dritte Satz
ist ein Rondo.
Il
Concertino op. 12
di Ferdinand Küchler
(1867-1937) è un brano
in tre movimenti, ideale
per praticare la prima e
terza posizione. Il primo
movimento è al
contempo potente e
gioioso, il secondo in
forma di un canto a voci
(A-B-A), mentre il terzo
movimento è un
rondò.
Chamber Music Cello, Piano, Violin SKU: PR.144402290 Composed by James Pr...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.144402290
Composed
by James Primosch. Set of
Score and Parts. With
Standard notation. 17+9+9
pages. Duration 16
minutes, 30 seconds.
Merion Music #144-40229.
Published by Merion Music
(PR.144402290).
UPC:
680160027316.
The
theme that opens my
Fantasy-Variations
permeates the harmonic
and melodic life of the
24 short episodes and
coda that follow.
However, in a few
sections the
relationships with the
theme are more hidden
than explicit; the
fanciful connections
between these portions
and the opening theme
suggested the work's
hybrid title. Yet even in
these more wide-ranging
variations the opening
theme is usually still
hovering nearby, often as
a quiet presence
contrasting with more
animated gestures. The
piece may be understood
as a kind of dream
journal: a chain of brief
entries that seem to vary
greatly, yet rotate about
a fixed constellation of
types and obsessions,
speaking a language of
images at once logical
and impossible, familiar
and mysterious. I wrote
the Fantasy-Variations
for the Leonardo trio in
1991 with the support of
a National Endowment for
the Arts Fellowship in
composition. The theme
that opens my
Fantasy-Variations
permeates the harmonic
and melodic life of the
24 short episodes and
coda that follow.Â
However, in a few
sections the
relationships with the
theme are more hidden
than explicit; the
fanciful connections
between these portions
and the opening theme
suggested the
work’s hybrid
title. Yet even in
these more wide-ranging
variations the opening
theme is usually still
hovering nearby, often as
a quiet presence
contrasting with more
animated gestures.The
piece may be understood
as a kind of dream
journal: a chain of brief
entries that seem to vary
greatly, yet rotate about
a fixed constellation of
types and obsessions,
speaking a language of
images at once logical
and impossible, familiar
and mysterious.I wrote
the Fantasy-Variations
for the Leonardo trio in
1991 with the support of
a National Endowment for
the Arts Fellowship in
composition.
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. .
Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Cl...(+)
Trombone and Piano -
Advanced
SKU:
CY.CC3136
Composed by
John W. Ware. Classical.
Score and Parts. Cherry
Classics #CC3136.
Published by Cherry
Classics (CY.CC3136).
ISBN 9790530111055.
8.5 x 11 in
inches.
This fine
work has sat dormant for
many years and has now
come to light thanks to
the efforts of Charlie
Vernon, Bass Trombonist
of the Chicago Symphony,
who performed this
virtuoso work as a young
performer. The concerto
is in the standard three
movement form: Fast,
slow, fast. This
publication is a
reduction from the
original orchestral
version (to be released
at some point in the
future). Here is a
description of the
Concerto by the composer,
John W. Ware. I started
on the trombone concerto
in my junior year
studying composition at
Indiana University. While
working on it, I learned
of an opportunity to make
it sort of a thesis piece
(though students didn't
write a thesis in
composition while an
undergrad). The original
version was for trombone
with string orchestra,
and it was performed by
the IU String Orchestra,
conducted by Dr. Arthur
Corra, with Robert Priez,
trombone, as part of my
senior composition
recital. I thought the
performance was quite
good (Priez played
extraordinarily well),
and the piece received a
newspaper review in the
Indiana Daily Student, in
which the reviewer wrote
that the work was almost
too exciting. I thought
at the time that he had
given me and my music a
fine compliment. I made a
piano version of the
accompaniment, shortening
and tightening the first
movement, for
performances in 1966; I
made a second revision in
1967 for a performance by
E. J. Eaton, trombonist
at the University of
Tennessee at Martin,
arriving at the form in
which the work exists
now. The first movement
is in fairly normal
sonata-allegro form, in
the key of A minor. It
alternates between
assertive and more
thoughtful moods. There
is no introduction; the
soloist enters
immediately and dominates
much of the movement. The
main theme is--by some
manipulation--a source
for most of the other
themes, and all of the
themes are used in close
proximity to each other,
including contrapuntal
combinations, especially
near the end. Originally
the movement included a
lengthy fugato, now much
shortened and including a
stretto that builds and
subsides before a cadenza
leading to a coda based
on both the principal and
secondary themes. Key
relations in this
movement, as in the other
two, are quite free and
often chromatic, with
frequent third-relations;
but returns to the tonic
at the end are emphatic.
The writing is
challenging for both
soloist and accompanist;
the piece is substantial,
requiring technique and
stamina. The second
movement is in F minor
and is also built on both
contrast and close
relationships between the
main and secondary
themes. The main theme is
heard in the piano part
before the soloist
enters. The mood is more
lyric than in the first
movement, but with
dramatic episodes also.
In this movement are some
definite derivations from
themes in the first
movement. The ending is a
sort of lengthened shadow
of the opening. The
finale returns to A
minor, with themes
slightly related to
polonaise rhythms, but
with strong echoes of
first-movement themes.
Here, too, dramatic and
lyric episodes alternate,
with dotted rhythms
frequently propelling the
music forward. The
introduction is a brief
and simple preparation
for the solo entry. Later
in the movement, a very
brief, slightly slower
section is soon overtaken
by the original tempo.
Toward the end, there is
a second cadenza, again
leading to a swift and
energetic coda. The work
is about 20 minutes in
length and is appropriate
for advanced
performers.
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. .
Composed by Eric B.
Davis. Sws. Carl Fischer
Concert String Orchestra
Series. Full score. 12
pages. Duration 4
minutes, 35 seconds. Carl
Fischer Music #CAS125F.
Published by Carl Fischer
Music (CF.CAS125F).
ISBN 9781491154809.
UPC: 680160913350. 9 x 12
inches. Key: G
minor.
This
high-energy work is based
on the Greek mythological
fire-breathing monster
that has a lion's head, a
goat's body and a
serpent's tail. Three
themes representing each
of these interact with
one another and move
through a series of
musical episodes in a
battle between the beast
and the hero,
Bellerophon. It is both
fun to play from the
dramatic opening to the
exciting and heroic
conclusion. This
high-energy work is based
on the Greek mythological
fire-breathing monster
that has a lion’s
head, a goat’s
body and a
serpent’s
tail. Three themes
representing each of
these interact with one
another and move through
a series of musical
episodes in a battle
between the beast and the
hero, Bellerophon. It
is both fun to play from
the dramatic opening to
the exciting and heroic
conclusion.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Orchestra Orchestra SKU: CF.PO192 On We Wish You a Merry Christmas...(+)
Orchestra Orchestra
SKU: CF.PO192
On We Wish You a Merry
Christmas. Composed
by Robert B. Brown. Set
of Score and Parts.
13+5+39 pages. Duration
2:40. Carl Fischer Music
#PO192. Published by Carl
Fischer Music (CF.PO192).
ISBN 9781491157350.
UPC: 680160915910. Key:
Bb major.
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.
 . 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. .
Composed
by Piet Swerts. De Haske
Concert Band. Concert
Piece. Score Only.
Composed 2005. De Haske
Publications #1053776.
Published by De Haske
Publications
(HL.44007583).
UPC:
884088264093.
English-German-French-Dut
ch.
This delightful
new composition takes its
inspiration from the
classic French swash
buckling tale of Cyrano
de Bergerac and his fight
to win the love of the
beautiful maiden Roxane.
The subject was a perfect
departure point for
composing a symphonic
poem with a variety of
musical aspects
reflecting the story.
Lyricism (the theme of
Roxane), dramatic
episodes, as well as
Debussy-inspired
impressionist moments are
some of the elements that
give the band and its
conductor the chance to
expose themselves as a
versatile ensemble being
able to create colour, to
sing and to play like
virtuosi. This work is
sure to become a standard
item in the concert band
repertoire.
In
Cyrano verklankt
de componist Piet Swerts
het romantische en
tragische verhaal van de
briljante dichter en
zwaardkunstenaar Cyrano
de Bergerac en zijn
mooie, intellectuele
nicht Roxane, op wie hij
tot over zijn oren
verliefdis. Zijn
uiterlijk, met name zijn
buitengewoon grote neus,
belet hem om zijn
gevoelens tegenover haar
te uiten. De vele
verwikkelingen die uit
deze situatie voortkomen
zijn te herkennen in deze
programmatische
compositie.
Piet
Swerts erzahlt hier
musikalisch die
tragisch-romantische
Geschichte von Cyrano de
Bergerac, der einem
verliebten Freund hilft,
seine Liebe zu erobern
und sich dann selbst
unglucklich in dessen
Angebetete verliebt.
Diese Komposition
spiegelt die Geschichte
mit einer Vielfalt an
musikalischen Aspekten
eindrucksvoll wider.
Lyrik, dramatische
Episoden sowie von
Debussy inspirierte,
impressionistische
Momente sind einige der
Elemente, die dem
Blasorchester und seinem
Dirigenten die Chance
bieten, sich als
vielseitiges Ensemble,
das zugleich Farben
entfalten, singen und
virtuos spielen kann, zu
prasentieren.
La
comedie heroique
Cyrano de Bergerac
(1897) valut a son auteur
une gloire immediate.
Cyrano, heros tragique et
attachant, est entre dans
le patrimoine universel,
sans doute parce qu'il
incarne superbement un
mythe bien ancien : celui
de l'amour et du bonheur
impossibles. Ce delicieux
chef-d'œuvre
theatral d'Edmond Rostand
a inspire ce poeme
symphonique de Piet
Swerts qui s'articule
autour d'une grande
diversite musicale
exprimant differentes
scenes de la piece.
Passages lyriques,
episodes dramatiques et
moments impressionnistes,
Cyrano comprend de
nombreux ingredients qui
permettent au chef et a
sa formation d'exploiter
leur polyvalence a
travers lacouleur, le
chant et le jeu virtuose.
La commedia
Cyrano de Bergerac (1897)
valse al suo autore
gloria immediata. Cyrano,
eroe tragico e
commovente, e entrato nel
patrimonio universale
senza dubbio perche
incarna a meraviglia un
mito molto antico: quello
dell'amore e della
felicita impossibili.
Questo delizioso
capolavoro teatrale di
Edmond Rostand ha
ispirato il poema
sinfonico che si articola
attorno ad una grande
diversita musicale
esprimendo diverse scene
dell'opera teatrale.
Passaggi lirici, episodi
drammatici e momenti
impressionanti, Cyrano
comprende numerosi
ingredienti che
permettono al maestro di
sfruttare la polivalenza
attraverso il colore, il
canto e il suono
virtuoso.
Countertenor and
Chamber Orchestra Full
Score. Composed by
Nico Muhly. Music Sales
America. Classical.
Softcover. Composed 2018.
122 pages. St. Rose Music
#SRO100088. Published by
St. Rose Music
(HL.276513).
UPC:
888680989774. 12x16.5
inches.
“S
entences is a
thirty-minute meditation,
in collaboration with
Adam Gopnik, on several
episodes drawn from the
life and work of Alan
Turing. Turing lived, in
a sense, many different
lives, but at the heart
of his work was, I think,
a very musical set of
anxieties. Even the idea
of code-breaking is
inherently musical; the
French for score-reading
is déchiffrage:
deciphering. His wartime
work on the Enigma code
translated, later in
life, to a more nuanced
relationship to code in
the form of a primitive
but emotionally (and
philosophically)
complicated artificial
intelligence. The piece
uses a single voice not
to speak necessarily as
Turing, but as a guide
through these various
episodes.
I've
always felt that the
question of sentient
computers is wildly
emotional: we
anthropomorphise the Mars
Rover, imagining its
solitude on that dusty
planet. Any act of
communication in which
the second person is
unseen can be a one-way
conversation. An email,
sent, can never be
returned - did it arrive
or did it not?-', or a
text message can be
delivered but never read.
The thrill of a fast
response is immediately
tempered with the harsh
but empty rudeness of an
out-of-office reply.
Anybody who has made a
condolence phone call
only to hear the voice of
the deceased on the
outgoing answering
machine message knows the
complexities of what
could be a simple binary
communication.”
–Nico Muhly.