Tchaikovsky's Souvenir De Florence was comissioned by the St. Petersburg ...(+)
Tchaikovsky's Souvenir
De Florence was
comissioned by the St.
Petersburg Chamber Music
Society in 1887, but the
work was not finished
until 1892 due to
Tchaikovsky turning his
attention to his opera
Queen Of Spades.It
has been observed that
the final movement, in
particular, is
orchestrally conceived,
rather than in the style
of chamber music. The
work is, fittingly, often
performed by string
orchestras, and many
believe it to actually
moreeffective in that
format. This is the
original setting of the
piece, for String Sextet
- 2 Violins, 2 Violas and
2 Cellos
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1043564-010 From Erasmus...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1043564-010
From Erasmus
Tales. Composed by
Jan Hadermann.
Performance Series.
Original Light Music. Set
(Score & Parts). Composed
2004. De Haske
Publications #DHP
1043564-010. Published by
De Haske Publications
(BT.DHP-1043564-010).
Florence,
Italy, was a model of
Renaissance culture
because of its economy
and its writers,
painters, architects and
philosophers. This
descriptive new work
paints a picture of a
street fair in Florence.
You can almost feel the
atmosphere andvisualize
the bustle of activity
taking place in the grand
Renaissance square. Bring
the past back to life
with this attractive and
entertaining
composition.
Het
Italiaanse Florence was
vanwege zijn economie en
zijn schrijvers,
schilders, architecten en
filosofen het toonbeeld
van renaissancecultuur.
Dit werk schildert een
markt in Florence, de
sfeer is bijna tastbaar
en je kunt je eenbeeld
vormen van de mensen en
alle activiteiten op het
marktplein. Breng het
verleden tot leven met
deze levendige en
onderhoudende
compositie.
The
Florence Fayre
beschreibt sehr
anschaulich eine Messe im
Florenz der Renaissance.
Der Renaissance-Charakter
des Stücks wird
weitgehend von der
Begleitung in Schlagzeug
geprägt. Für
Abwechslung und Spannung
sorgen die vier kurzen
Themen,die nacheinander
in verschiedenen
Registern mit wechselnder
Dynamik präsentiert
werden.
Composed by Paule
Maurice. Classical: 20th
Century (Contemporary).
Score. Editions Henry
Lemoine #24649. Published
by Editions Henry Lemoine
(LM.24649).
ISBN
9790230946490.
La
Rioja - Vienne -
Kou-Kou-Nor - Florence -
Guyaquil - Tolede -
Harlem - Delhi - Ile de
France.
SKU: HL.1115715 For Soprano, Speaker, and Electronics. Composed by...(+)
SKU: HL.1115715
For Soprano, Speaker,
and Electronics.
Composed by Cheryl
Frances-Hoad. Vocal.
Softcover. Duration 180
seconds. Chester Music
#CH88154. Published by
Chester Music
(HL.1115715).
ISBN
9781705179741. UPC:
196288105640. 9.0x12.0
inches.
Thinking I
Hear Thee Call by Cheryl
Frances-Hoad is inspired
by the life of Florence
Attridge, an Essex woman
who, whilst working at
the Marconi factory in
Chelmsford during WWII,
helped to make secret
radio sets for spys. In
this piece for soprano,
speaker and electronics,
we hear Florence recount
her experiences, whilst,
in another, secret
location, in another
time, a spy goes through
the radio's
(complicated!) set up
instructions one last
time before going on
their first
reconnaissance mission.
The electronic element
takes sounds that are
associated with
Florence's life and the
history of Marconi,
including morse code and
Absent, the first song to
be broadcast from the
factory. The text for
Florence's part was
written by Frances M
Lynch based on research
by Patricia Fara, and the
speakers text comes from
the official manual for
the The British Type 3
Mark II Spy Radio. The
work was commissioned by
electric voice theatre
and first Performed
Online during the
Covid-19 Pandemic, Aug
24th 2020 as part of the
'Echoes from Essex'. The
project was supported by
the Arts Council
Emergency Response Fund
(National Lottery). The
performers from electric
voice theatre are:
Frances M Lynch - Soprano
(Florence Attridge)
Margaret Cameron -
Speaker (Spy). The
performers recorded their
parts individually in
their homes and the final
work was combined with
the composer's electronic
track and produced by
Frances M Lynch &
Herbie Clarke at Birnam
Studios, London.
Il Cinghiale di Bronzo Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1063945-010 Suite for Conc...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1063945-010
Suite for Concert
Band. Composed by
Kumiko Tanaka.
Inspiration Series.
Concert Piece. Set (Score
& Parts). Composed 2006.
De Haske Publications
#DHP 1063945-010.
Published by De Haske
Publications
(BT.DHP-1063945-010).
English-German-French-
Dutch.
This suite
is based on the fairy
tale The Bronze Pig by
Hans Christian
Andersen.This is a story
about a boy who wants to
be a painter and a pig
made of bronze. This pig,
in Florence town square,
is a bronze statue with
clear water pouring from
its mouth. Legend has it
that when an innocent
child sits on its back,
that the pig can run. In
three movements; Flying
Dreams in a Starlight
Sky, La Via Porta Rossa
and Twilight on the Arno
River this work is a
highly descriptive
storytelling piece that
will be equally enjoyed
by young and old alike.
Definitely one not to be
snorted at!
Deze
suite is gebaseerd op
Het bronzen varken
van Hans Christian
Andersen - een sprookje
over een bronzen varken
en een jongetje dat
kunstschilder wil worden.
De plaats van handeling
is de Italiaanse
kunststad Florence.
Decompositie bestaat uit
drie delen: het
sprookjesachtige
Flying Dreams in a
Starlight Sky, het
nostalgische, stijlvolle
La Via Porta Rossa
en het sfeervolle
Twilight on the Arno
River. Het bronzen
beeld van
hetwaterspuwende varken
is te vinden op de hoek
van La Via Porta
Rossa. Het origineel
is het marmeren beeld uit
de Griekse Oudheid dat
wordt tentoongesteld in
de Galleria degli Uffizi.
De componist bezocht
Florence zelf, waarze
werd ge nspireerd door
beide
beelden.
Kumiko
Tanaka entführt uns in
ihrer Suite für
Blasorchester in die
Märchenwelt von Hans
Christian Andersen. Il
Cinghiale di Bronzo (Das
Bronzeschwein)
handelt von einem armen
Jungen, der nachts auf
einem lebendig
gewordenen, Wasser
speienden Bronzeschwein
durch die Gassen von
Florenz reitet. Das
Bronzeschwein, das
Andersen zu seinem
Märchen inspirierte,
kann man heute noch
besichtigen. Die
Inspiration, die Kumiko
Tanaka aus seiner
Erzählung und der
Atmosphäre der
wunderschönen Stadt
Florenz gewann, ist in
ihrer Komposition
deutlich zu
spüren.
Per comporre
questa suite in tre
parti, la compositrice
giapponese Kumiko Tanaka
si è ispirata alla
fiaba Il Cinghiale di
Bronzo dello
scrittore danese Hans
Christian Andersen. La
storia, che ha luogo a
Firenze, narra
dell’incontro tra
un ragazzino che sogna di
diventare pittore ed un
cinghiale di bronzo che
prende vita quando il
ragazzino, simbolo
dell’innocenza,
gli monta sul dorso.
Concert Band (Score) - Grade 4 SKU: HL.50605201 Composed by Florence Beat...(+)
Concert Band (Score) -
Grade 4
SKU:
HL.50605201
Composed
by Florence Beatrice
Price. Arranged by Jay
Bocook. G. Schirmer
Band/Orchestra. Concert.
Softcover. 28 pages.
Duration 230 seconds.
Published by G. Schirmer
(HL.50605201).
UPC:
196288072751.
9.0x12.0x0.056
inches.
Florence
Price (1887-1953) is
noted as the first
African-American female
composer of symphonic
works, and is only in
recent years beginning to
receive the recognition
so richly deserved. Her
Symphony No. 1 was
completed in 1932 and
first performed in 1933
by the Chicago Symphony
Orchestra. Here is a
sparkling transcription
for band of the third
movement (Juba Dance).
(Grade 4) Dur: 3:50.
Composed
by Patrick Glenn Harper.
Full score. 25 pages.
Carl Fischer Music
#CPS251F. Published by
Carl Fischer Music
(CF.CPS251F).
ISBN
9781491159880. UPC:
680160918478.
About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The
piece was written in
honor of James E.
Champion, who taught band
for thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a
career. And for that,
I will always be
grateful.Performance
NotesMeasures
1-12:Â Â The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind
cues should only be used
if absolutely needed
during this
section.Measures
41-58:Â Â The
concert toms should
establish a presence, but
not overpower the
winds.  The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A
higher pitched woodblock
should be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections.  The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70.  The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm.
92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure
that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114–115, the
accents on beats 2 and 4
in the lower winds should
be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures.
Baritone, Euphonium and Piano - advanced SKU: BT.DHP-1185887-401 For S...(+)
Baritone, Euphonium and
Piano - advanced
SKU:
BT.DHP-1185887-401
For Solo
Baritone/Euphonium and
Piano. Composed by
Satoshi Yagisawa. De
Haske Brass Series.
Educational Tool. Book
and Part(s). Composed
2018. 12 pages. De Haske
Publications #DHP
1185887-401. Published by
De Haske Publications
(BT.DHP-1185887-401).
ISBN 9789043155496.
English-German-French-Dut
ch.
This work was
commissioned by the Osaka
Kyoiku University Wind
Orchestra. The world
premiere took place with
trumpet soloist, Osamu
Kumashiro and was
conducted by the
composer, who was
inspired by the famous
Ponte Vecchio (the
old bridge) during a
visit to Florence. This
work is a musical collage
of impressions following
the composers visit to
Italy. The solo part can
also be performed on
trumpet or alto
saxophone.
Deze
compositie is geschreven
in opdracht van het Osaka
Kyoiku University Wind
Orchestra. De
wereldpremière werd
samen met trompetsolist
Osamu Kumashiro
uitgevoerd onder leiding
van de componist, die
zich tijdens een bezoek
aan Firenze heeft laten
inspireren door de
beroemde Ponte
Vecchio (oude brug).
Het werk is een muzikale
collage van indrukken die
Yagisawa in Italië
heeft opgedaan. De
solopartij kan ook op
trompet of altsaxofoon
worden
gespeeld.
Dieses
Werk wurde vom
Blasorchester der Osaka
Kyoiku Universität in
Auftrag gegeben. Die
Welturaufführung fand
mit dem Trompeter Osamu
Kumashiro als Solist und
unter der Leitung des
Komponisten statt. Der
Komponist hat sich
während einer Reise
nach Florenz von der
berühmten Ponte
Vecchio (Alte
Brücke“)
inspirieren lassen. Das
Werk ist eine
musikalische Collage mit
den Eindrücken des
Komponisten von seiner
Italienreise. Die
Solostimme kann auch mit
dem Trompete oder
Altsaxophon gespielt
werden.
SKU: HL.14000899 Spielerische Ubungen fur Kinder von Josephine Koh & F...(+)
SKU: HL.14000899
Spielerische Ubungen
fur Kinder von Josephine
Koh & Florence Koh.
Composed by Koh. Music
Sales America. Musical
Education. Book
[Softcover]. 68 pages.
Music Sales #BOE4381.
Published by Music Sales
(HL.14000899).
ISBN
9783920127125.
German.
Playful
exercises in German for
children by Josephine Koh
and Florence Koh. The
volume presented here
Abenteur Musik Theorie is
designed for children who
are in pre-school and
offers exercises that are
fun for them. Easy, short
illustrated instructions
will awaken their
interest and give a bit
of fun to the learning of
musical theory.
Il Cinghiale di Bronzo Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band - Grade 4 SKU: BT.DHP-1063945-040 Suite for Concert Band<...(+)
Concert Band - Grade 4
SKU:
BT.DHP-1063945-040
Suite for Concert
Band. Composed by
Kumiko Tanaka.
Inspiration Series.
Concert Piece. Set (Score
& Parts). Composed 2006.
De Haske Publications
#DHP 1063945-040.
Published by De Haske
Publications
(BT.DHP-1063945-040).
9x12 inches.
English-German-French-Dut
ch.
This suite is
based on the fairy tale
The Bronze Pig by Hans
Christian Andersen.This
is a story about a boy
who wants to be a painter
and a pig made of bronze.
This pig, in Florence
town square, is a bronze
statue with clear water
pouring from its mouth.
Legend has it that when
an innocent child sits on
its back, that the pig
can run. In three
movements; Flying Dreams
in a Starlight Sky, La
Via Porta Rossa and
Twilight on the Arno
River this work is a
highly descriptive
storytelling piece that
will be equally enjoyed
by young and old alike.
Definitely one not to be
snorted at!
Kumiko
Tanaka entführt uns in
ihrer Suite für
Blasorchester in die
Märchenwelt von Hans
Christian Andersen. Il
Cinghiale di Bronzo (Das
Bronzeschwein)
handelt von einem armen
Jungen, der nachts auf
einem lebendig
gewordenen, Wasser
speienden Bronzeschwein
durch die Gassen von
Florenz reitet. Das
Bronzeschwein, das
Andersen zu seinem
Märchen inspirierte,
kann man heute noch
besichtigen. Die
Inspiration, die Kumiko
Tanaka aus seiner
Erzählung und der
Atmosphäre der
wunderschönen Stadt
Florenz gewann, ist in
ihrer Komposition
deutlich zu
spüren.
Per comporre
questa suite in tre
parti, la compositrice
giapponese Kumiko Tanaka
si è ispirata alla
fiaba Il Cinghiale di
Bronzo dello
scrittore danese Hans
Christian Andersen. La
storia, che ha luogo a
Firenze, narra
dell’incontro tra
un ragazzino che sogna di
diventare pittore ed un
cinghiale di bronzo che
prende vita quando il
ragazzino, simbolo
dell’innocenza,
gli monta sul dorso.
By Florence Beatrice Price. Edited by Calvert Johnson. Organ. For organ. Variati...(+)
By Florence Beatrice
Price. Edited by Calvert
Johnson. Organ. For
organ. Variations. Music
Of Florence Beatrice
Price, Volume 3.
Variations for organ.
Late Romantic. Level:
Difficult. Sheet music.
42 pages. Published by
ClarNan Editions.
Ponte Vecchio Trompette, Piano De Haske Publications
Trumpet and Piano - advanced SKU: BT.DHP-1185860-401 For Bb Trumpet an...(+)
Trumpet and Piano -
advanced
SKU:
BT.DHP-1185860-401
For Bb Trumpet and
Piano. Composed by
Satoshi Yagisawa. De
Haske Trumpet Series.
Educational Tool. Book
and Part(s). Composed
2018. 12 pages. De Haske
Publications #DHP
1185860-401. Published by
De Haske Publications
(BT.DHP-1185860-401).
ISBN 9789043155489.
English-German-French-Dut
ch.
This work was
commissioned by the Osaka
Kyoiku University Wind
Orchestra. The world
premiere took place with
trumpet soloist, Osamu
Kumashiro and was
conducted by the
composer, who was
inspired by the famous
Ponte Vecchio (the
old bridge) during a
visit to Florence. This
work is a musical collage
of impressions following
the composers visit to
Italy. The solo part can
also be performed on
euphonium or alto
saxophone.
Deze
compositie is geschreven
in opdracht van het Osaka
Kyoiku University Wind
Orchestra. De
wereldpremière werd
samen met trompetsolist
Osamu Kumashiro
uitgevoerd onder leiding
van de componist, die
zich tijdens een bezoek
aan Firenze heeft laten
inspireren door de
beroemde Ponte
Vecchio (oude brug).
Het werk is een muzikale
collage van indrukken die
Yagisawa in Italië
heeft opgedaan. De
solopartij kan ook op
euphonium of altsaxofoon
worden
gespeeld.
Dieses
Werk wurde vom
Blasorchester der Osaka
Kyoiku Universität in
Auftrag gegeben. Die
Welturaufführung fand
mit dem Trompeter Osamu
Kumashiro als Solist und
unter der Leitung des
Komponisten statt. Der
Komponist hat sich
während einer Reise
nach Florenz von der
berühmten Ponte
Vecchio (Alte
Brücke“)
inspirieren lassen. Das
Werk ist eine
musikalische Collage mit
den Eindrücken des
Komponisten von seiner
Italienreise. Die
Solostimme kann auch mit
dem Euphonium oder
Altsaxophon gespielt
werden.
SKU: HL.14000900 Spielerische Ubungen fur Kinder von Josephine Koh & F...(+)
SKU: HL.14000900
Spielerische Ubungen
fur Kinder von Josephine
Koh & Florence Koh.
Composed by Koh. Music
Sales America. Musical
Education. Book
[Softcover]. 66 pages.
Music Sales #BOE4404.
Published by Music Sales
(HL.14000900).
ISBN
9783920127132.
German.
Playful
exercises in German for
children by Josephine Koh
and Florence Koh. The
second volume of Abenteur
Musik Theorie presented
here is designed for
children who are in
pre-school and offers
exercises that are fun
for them. Easy, short
illustrated instructions
will awaken their
interest and give a bit
of fun to the learning of
musical theory.
Il Cinghiale di Bronzo Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1063945-140 Suite for Conc...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1063945-140
Suite for Concert
Band. Composed by
Kumiko Tanaka.
Inspiration Series.
Concert Piece. Score
Only. Composed 2006. 56
pages. De Haske
Publications #DHP
1063945-140. Published by
De Haske Publications
(BT.DHP-1063945-140).
9x12 inches.
English-German-French-Dut
ch.
This suite is
based on the fairy tale
The Bronze Pig by Hans
Christian Andersen.This
is a story about a boy
who wants to be a painter
and a pig made of bronze.
This pig, in Florence
town square, is a bronze
statue with clear water
pouring from its mouth.
Legend has it that when
an innocent child sits on
its back, that the pig
can run. In three
movements; Flying Dreams
in a Starlight Sky, La
Via Porta Rossa and
Twilight on the Arno
River this work is a
highly descriptive
storytelling piece that
will be equally enjoyed
by young and old alike.
Definitely one not to be
snorted at!
Kumiko
Tanaka entführt uns in
ihrer Suite für
Blasorchester in die
Märchenwelt von Hans
Christian Andersen. Il
Cinghiale di Bronzo (Das
Bronzeschwein)
handelt von einem armen
Jungen, der nachts auf
einem lebendig
gewordenen, Wasser
speienden Bronzeschwein
durch die Gassen von
Florenz reitet. Das
Bronzeschwein, das
Andersen zu seinem
Märchen inspirierte,
kann man heute noch
besichtigen. Die
Inspiration, die Kumiko
Tanaka aus seiner
Erzählung und der
Atmosphäre der
wunderschönen Stadt
Florenz gewann, ist in
ihrer Komposition
deutlich zu
spüren.
Per comporre
questa suite in tre
parti, la compositrice
giapponese Kumiko Tanaka
si è ispirata alla
fiaba Il Cinghiale di
Bronzo dello
scrittore danese Hans
Christian Andersen. La
storia, che ha luogo a
Firenze, narra
dell’incontro tra
un ragazzino che sogna di
diventare pittore ed un
cinghiale di bronzo che
prende vita quando il
ragazzino, simbolo
dell’innocenza,
gli monta sul dorso.
Ponte Vecchio Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band and Trumpet Solo - Grade 4 SKU: BT.DHP-1185814-010 For So...(+)
Concert Band and Trumpet
Solo - Grade 4
SKU:
BT.DHP-1185814-010
For Solo Bb Trumpet,
Euphonium or Solo Eb Alto
Saxophone and Concert
Band. Composed by
Satoshi Yagisawa. Solo
Spectrum. Solo &
Concerto. Set (Score &
Parts). Composed 2018. De
Haske Publications #DHP
1185814-010. Published by
De Haske Publications
(BT.DHP-1185814-010).
English-German-French-
Dutch.
This work
was commissioned by the
Osaka Kyoiku University
Wind Orchestra. The world
premiere took place with
trumpet soloist, Osamu
Kumashiro and was
conducted by the
composer, who was
inspired by the famous
Ponte Vecchio (the
old bridge) during a
visit to Florence. The
solo part can also be
performed on euphonium or
alto saxophone.
Deze compositie
is geschreven in opdracht
van het Osaka Kyoiku
University Wind
Orchestra. De
wereldpremière werd
samen met trompetsolist
Osamu Kumashiro
uitgevoerd onder leiding
van de componist, die
zich tijdens een bezoek
aan Firenze heeft laten
inspireren door de
beroemde Ponte
Vecchio (oude brug).
Het werk is een muzikale
collage van indrukken die
Yagisawa in Italië
heeft opgedaan. De
solopartij kan ook op
euphonium of altsaxofoon
worden
gespeeld.
Dieses
Werk wurde vom
Blasorchester der Osaka
Kyoiku Universität in
Auftrag gegeben. Die
Welturaufführung fand
mit dem Trompeter Osamu
Kumashiro als Solist und
unter der Leitung des
Komponisten statt. Der
Komponist hat sich
während einer Reise
nach Florenz von der
berühmten Ponte
Vecchio (Alte
Brücke“)
inspirieren lassen. Das
Werk ist eine
musikalische Collage mit
den Eindrücken des
Komponisten von seiner
Italienreise. Die
Solostimme kann auch mit
dem Euphonium oder
Altsaxophon gespielt
werden.
Ponte
Vecchio è stato
commissionato
dall’Orchestra di
fiati
dell’Universit di
Osaka Kyoiku. La prima
esecuzione assoluta è
stata affidata al
trombettista Osamu
Kumashiro, in veste di
solista, con la direzione
del compositore stesso,
che si è ispirato al
celeberrimo Ponte Vecchio
durante una visita a
Firenze. La parte
solistica può anche
essere eseguita su
eufonio o sassofono
contralto.
Chamber ensemble SKU: FG.55011-440-1 Composed by Kirmo Lintinen. Fennica ...(+)
Chamber ensemble
SKU:
FG.55011-440-1
Composed by Kirmo
Lintinen. Fennica Gehrman
#55011-440-1. Published
by Fennica Gehrman
(FG.55011-440-1).
ISBN
9790550114401.
In
Ballata Concertante
(2015-2016) Lintinen
looks back in time, to
the Italy of the trecento
and specifically the
Renaissance Florence. The
music of the trecento may
provide the starting
point for stylistic
allusions but it is
anything but a one-to-one
correspondence. It may
speak the language of the
14th century, but it does
so with a modernist
accent, rather as the
Neoclassicists last
century spoke the
language of the 18th
century. The
archaic-sounding opening
section harks back to the
music of the trecento,
but the cello melody a
little later already
comes closer to the
present day. Lintinen
compares the impression
to that of a tourist
travelling to Florence
today and becoming
immersed in Renaissance
art. Lintinen's ensemble
is the same as that of
Schubert's Octet. He did
not, however, aim at
Schubert's orchestral
sound. The music of the
first half is coloured by
the alternation of
strings and winds.
Lintinen says, The
presence of three wind
players inspired the idea
of a three-voice group of
soloists for which I
could write as for three
singers. Ballata
concertante is a
rhythmically vibrant
piece, and since it is
intended for performance
without a conductor, the
episodes are naturally
linked together by means
of such devices as
rhythmic modulations.
Score and parts are sold
together.
Ponte Vecchio Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band and Trumpet Solo - Grade 4 SKU: BT.DHP-1185814-140 For So...(+)
Concert Band and Trumpet
Solo - Grade 4
SKU:
BT.DHP-1185814-140
For Solo Bb Trumpet,
Euphonium or Solo Eb Alto
Saxophone and Concert
Band. Composed by
Satoshi Yagisawa. Solo
Spectrum. Solo &
Concerto. Score Only.
Composed 2018. De Haske
Publications #DHP
1185814-140. Published by
De Haske Publications
(BT.DHP-1185814-140).
English-German-French-
Dutch.
This work
was commissioned by the
Osaka Kyoiku University
Wind Orchestra. The world
premiere took place with
trumpet soloist, Osamu
Kumashiro and was
conducted by the
composer, who was
inspired by the famous
Ponte Vecchio (the
old bridge) during a
visit to Florence. The
solo part can also be
performed on euphonium or
alto saxophone.
Deze compositie
is geschreven in opdracht
van het Osaka Kyoiku
University Wind
Orchestra. De
wereldpremière werd
samen met trompetsolist
Osamu Kumashiro
uitgevoerd onder leiding
van de componist, die
zich tijdens een bezoek
aan Firenze heeft laten
inspireren door de
beroemde Ponte
Vecchio (oude brug).
Het werk is een muzikale
collage van indrukken die
Yagisawa in Italië
heeft opgedaan. De
solopartij kan ook op
euphonium of altsaxofoon
worden
gespeeld.
Dieses
Werk wurde vom
Blasorchester der Osaka
Kyoiku Universität in
Auftrag gegeben. Die
Welturaufführung fand
mit dem Trompeter Osamu
Kumashiro als Solist und
unter der Leitung des
Komponisten statt. Der
Komponist hat sich
während einer Reise
nach Florenz von der
berühmten Ponte
Vecchio (Alte
Brücke“)
inspirieren lassen. Das
Werk ist eine
musikalische Collage mit
den Eindrücken des
Komponisten von seiner
Italienreise. Die
Solostimme kann auch mit
dem Euphonium oder
Altsaxophon gespielt
werden.
Ponte
Vecchio è stato
commissionato
dall’Orchestra di
fiati
dell’Universit di
Osaka Kyoiku. La prima
esecuzione assoluta è
stata affidata al
trombettista Osamu
Kumashiro, in veste di
solista, con la direzione
del compositore stesso,
che si è ispirato al
celeberrimo Ponte Vecchio
durante una visita a
Firenze. La parte
solistica può anche
essere eseguita su
eufonio o sassofono
contralto.
(Book) SKU: HL.1303116 Composed by Florence Koh. Music Sales America. Chi...(+)
(Book)
SKU:
HL.1303116
Composed
by Florence Koh. Music
Sales America. Children,
Educational. Softcover.
Hal Leonard #WMP1912.
Published by Hal Leonard
(HL.1303116).
UPC:
196288173151.
Pract
ice In Music Theory -
Book A is the first part
of an excellent series
containing material for
young beginners between 4
and 6 years of age. It
features fantastic
illustrations, games and
puzzles all geared
towards introducing the
theoretical demands of
music, and seeks to make
this learning of theory a
fun and exciting
experience! Written in
simple language and
accompanied by
captivating
illustrations, Josephine
and Florence Koh's book
will stimulate the little
ones' interest and make
the learning of
musictheory as fun and
exciting an experience as
is possible! Highlights
include the Matching
Game, Keyboard Game
Picture fun and music
Quiz. This is also the
first
childrenÂ’stheory book
to introduce various
instruments of the
orchestra. There is an
illustration and an
explanatory note for each
of the instruments and
these help to give
children the basic
knowledge of the more
common instruments. With
this book, teaching and
learning will surely be a
refreshing and enjoyable
experience!
By Florence Beatrice Price. Edited by Calvert Johnson. Organ. For organ. Organ p...(+)
By Florence Beatrice
Price. Edited by Calvert
Johnson. Organ. For
organ. Organ pieces.
Music Of Florence
Beatrice Price, Volume 2.
Organ pieces. Late
Romantic. Easy -
Difficult. Sheet music.
79 pages
Composed by
Patrick Glenn Harper. Set
of Score and Parts.
28+8+8+4+8+8+8+4+4+4+4+4+
4+8+8+8+4+4+6+6+6+4+8+1+4
+2+2+12+2+8 pages.
Duration 4 minutes, 27
seconds. Carl Fischer
Music #CPS251. Published
by Carl Fischer Music
(CF.CPS251).
ISBN
9781491159873. UPC:
680160918461.
About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The
piece was written in
honor of James E.
Champion, who taught band
for thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a
career. And for that,
I will always be
grateful.Performance
NotesMeasures
1-12:Â Â The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind
cues should only be used
if absolutely needed
during this
section.Measures
41-58:Â Â The
concert toms should
establish a presence, but
not overpower the
winds.  The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A
higher pitched woodblock
should be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections.  The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70.  The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm.
92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure
that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114–115, the
accents on beats 2 and 4
in the lower winds should
be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures.