Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000).
ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches.
Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected.
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more.
SKU:
PR.16500100F
Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F).
ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches.
Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected.
A Creative and Interactive Piano Course for Children. Composed by Hans-Guent...(+)
A Creative and
Interactive
Piano Course for
Children.
Composed by Hans-Guenter
Heumann. This edition:
Saddle
stitching. Sheet music.
Piano. Classical.
Softcover
with CD. 48 pages. Schott
Music #ED13814. Published
by
Schott Music
A Creative and Interactive Piano Course for Children. Composed by Hans-Guenter...(+)
A Creative and
Interactive
Piano Course for
Children.
Composed by Hans-Guenter
Heumann. This edition:
Saddle
stitching. Sheet music.
Piano. Method. Softcover
Audio Online. 48 pages.
Schott Music #ED13813.
Published by Schott Music
Composed by Bernd Franke.
Full Scores. Edition
Peters. Score. 52 pages.
Duration 00:20:00.
Edition Peters
#98-EP14445. Published by
Edition Peters
(PE.EP14445).
ISBN
9790014135041. 297 x 420
mm inches.
German.
ARKA
stammt aus dem
Sanskrit und bedeutet so
viel wie Strahl, Blitz,
Sonne, Licht, aber auch
Lied, Feuer und Hymnus,
und entwickelt in meiner
Vorstellung sehr viele
unterschiedliche
Assoziationsfelder. In
ARKA stecken
auch die Worter arc
(beten) und ka (Wasser),
und es kann auch
ubersetzt werden mit:
,,Das Wasser stromt aus
dem heraus, der mehr
weiss.
Mein neues
Werk fur Pipa, Oboe,
Pauke, Schlagzeug und
Orchester entstand im
Auftrag der
Kammerakademie Neuss und
auf Anregung des Oboisten
Christian Wetzel. Es
entstanden drei Rituale
mit zum Teil szenischen
Elementen fur die
Solisten und das
Orchester.
Inspirationsquelle in
der Vorbeschaftigung
waren zwei Quellen und
Bucher. Das Daodejing von
Laozi in der
hervorragenden
Neuubersetzung von Viktor
Kalinke, eine der
wichtigsten Quellen
chinesischen Denkens und
der Philosophie dieser
grossen Kulturtradition
und die chinesische
Tradition der
5-Elementelehre und der
Wandlungsphasen. Als
zweites Buch hat mich
,,Die Glut von Roberto
Calasso inspiriert, ein
Buch uber die indischen
Veden in Verbindung mit
den Ursprungen des
Buddhismus und den damit
verbunden Ritualen.
In den letzten 20
Jahren habe ich mich
intensiv mit
ostasiatischer Musik,
Kunst und Philosophie
beschaftigt und habe das
auch durch langere
Studienreisen und
kompositorische Projekte
vertiefen konnen. U.a.
wurde 2012 mein Chorwerk
PRAN in Kolkata in Indien
uraufgefuhrt
(Goethe-Institut),
ebenfalls 2012 ,,in
between VI fur Sho und
Sheng in Tokyo und 2013
,,Mirror and Circle fur
Pipa, Cello und
chinesisches Orchester in
Taipeh/Taiwan
(Auftragswerk der
taiwanesischen
Regierung). Mit der
chinesischen
Pipa-Virtuosin Ya Dong
arbeite ich seit 2000
zusammen und habe fur sie
mehrfach komponiert
(Urauffuhrungen u.a. in
Hannover/EXPO 2000,
Rottweil 2001, Taipeh
2013, Magdeburg 2016).
Auch mit Christian Wetzel
arbeite ich seit uber 20
Jahren zusammen und habe
ebenfalls haufig fur ihn
komponiert (UA u.a. in
Bonn 1999, Hannover/EXPO
2000, Rottweil 2001,
Darmstadt 2004 und
etliche weitere
Projekte).
Jedes
dieser drei Rituale hat
eine Lange von ca. 6-7
Minuten und stellt
unterschiedliche
Qualitaten und
Besonderheiten der beiden
Soloinstrumente heraus,
immer in Verbindung mit
der Interaktion zwischen
Soli und Orchester. Die
Besetzung war fur mich
ausserst reizvoll, da
beide Instrumente in
dieser Kombination noch
nie so erklungen sind.
Die Pipa ist ein ungemein
modernes und
ungewohnliches
Instrument, reich an
Farben und vor allem an
perkussiven Effekten. Das
Tonmaterial wurde zum
grossten Teil aus den
Namen der beiden Solisten
gewonnen und ergibt
interessanter zwei
gespiegelte
Viertonmotive. In der
asiatischen Kultur
spielen der Spiegel und
der Kreis eine wichtige
Rolle, und so werden die
Tone, Rhythmen und Formen
eingewoben in diese drei
Rituale, welche am Ende
des dritten Satzes wieder
kreisformig an den Anfang
des ersten Rituals
anknupfen. Ein von den
Streichern und der Pauke
erzeugtes Gerausch,
verbunden mit dem
Rhythmus der grossen
Trommel, welcher einen
Herzschlag symbolisieren
soll. Die drei Untertitel
der Rituale Himmel, Erde
und (atmospharischer)
Raum spielen im vedischen
und chinesischen Denken
eine grosse Rolle und war
fur mich beim Komponieren
ebenfalls eine sehr
starke
Inspirationsquelle. In
vielen meiner
Kompositionen gibt es
Raumeffekte, Annaherungen
an das Publikum, das
Verschieben von
Perspektiven, die
Dekonstruktion und das
Hinterfragen der ublichen
Konzertsituation, so u.a
in meinem Beuys-Zyklus
oder in den Zyklen ,,CUT
und ,,in between.
In ARKA geht
es mir besonders um die
Interaktion zwischen
westlichem und ostlichem
Denken, um das
gegenseitige Durchdringen
dieser auf den ersten
Blick so
unterschiedlichen Denk-
und Lebensweisen, um eine
Verschmelzung scheinbarer
Gegensatze - um
Annaherung!
Bernd
Franke. Leipzig,
11.10.2019
W01476|C|Y
0.0000 Sheet Music
_x000D_ 9780193556799 Y
23.50 X556799 357665
9780193556799 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556799 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0 Low
voice & piano Low voice
book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556799
Young: A babe is
born
Rutter:
Angels' Carol
McDowall: Before the
paling of the stars
Rutter:
Candlelight Carol
Rutter: I sing
of a maiden
Chilcott: Mid-winter
Todd: My Lord
has Come
Bullard: Scots Nativity
Quartel: Snow
Angel
Todd:
Softly
Chilcott: Sweet was the
song
Chilcott:
The Shepherd's Carol
Quartel: This
endris night
McGlade: What child is
this?
for
low voice and piano
This beautiful
collection of 14 songs
for low voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for high voice and
piano.
14
songs for solo
voice
Well-loved
composers, including John
Rutter and Bob
Chilcott
Wide
selection of Christmas
texts
Accessible
accompaniments
Includes backing tracks
downloadable from a
Companion
Website
Available in volumes for
high and low
voice
MISC|AU|Y
0.0000 Paperback _x000D_
EP73308R Y 0.00 73308R
P73308R 1 ORCHA 8000 0.00
Hover A (LARGE) BEAMISH
EP73308R GP:ORCHESTRAL
HOVER ONLY RENTAL SALLY
WORKS NONE ORCHA P 303000
EP73308R 0.0000 Sheet
Music _x000D_ EP14437A Y
22.95 14437A P14437A
FRANKE, BERND C
9790014137199 52A1 8000
0.00 AGNI A 9790014137199
AGNI BASS BERND CLARINET
EP14437A FRANKE
PHOTOPRINTS W01476
English / German 00:12:0
Instrumental Score 232 x
303 mm Bass clarinet 20
DETNT NEW PR43 23/04/2021
P 303006
AGNI is the
Hindu god of fire; the
elemental and
transformative force
inherent in
everything:
Every
flame, every fire, every
light, every warmth is
AGNI.
AGNI is
omnipresent, establishing
everything and ending
everything.
AGNI is
often depicted with seven
tongues which represent
different aspects of his
being.
These
include: creating,
sustaining, cleansing,
purifying, priestly,
martial, devastating,
destructive, and
consuming.
Derived
from Franke's concerto of
the same name, this solo
work for bass clarinet
compositionally traces
the transformative
processes initiated by
the divine fire. The solo
takes seven pieces from
the concerto, presenting
vivid character pieces
exploring the creative
possibilities and wide
tonal range offered by
the bass
clarinet.
This
version of AGNI
for bass clarinet solo
was premiered on 4
December 2020 in Leipzig
by Volker Hemken, the
principal bass
clarinetist of the
Gewandhausorchester
Leipzig. EP14437a
convinces with its
excellent and clear
notation, making the
piece a new standard for
bass clarinet.
W01476|C|Y 0.0000 Sheet
Music _x000D_ EP68686 Y
165.00 68686 P68686 LEWIS
C 9790300761299 97 8000
0.00 Ikons A
9790300761299
CONTEMPORARY ENSEMBLE
EP68686 GEORGE IKONS
LEWIS PHOTOPRINTS SMALL
W06652 English 00:14:0
Conductor Score & Parts
303 x 232 mm Fl (A-fl in
F).Cl.Bsn
(Cbsn).Tbn.Perc.Vln.Vlc.C
b 132 NEW PR43 USTNT
21/04/2021 P 303006
Ikons,
commissioned by the
Vancouver Cultural
Olympiad 2010, exists in
two forms. This 14-minute
acoustic version,
premiered by the Turning
Point Ensemble, calls for
an octet of live
musicians to execute
complex rhythms and
quarter-tone
harmonies.
The
interactive, electronic
version, created with
visual artist Eric
Metcalfe and designed to
be presented separately,
incorporates samples from
this acoustic version
into a sculptural
environment of seven
pyramidal structures that
respond sonically to the
viewer.
W06652|C|Y
0.0000 Sheet Music
_x000D_ EP73531 Y 31.95
73531 P73531 PANUFNIK,
ROXANNA C 9790577020976
61 8000 0.00 Sonnets
without Words A
9790577020976 EP73531
HORN PANUFNIK PHOTOPRINTS
PIANO ROXANNA SHAKESPEARE
SONNETS W03578 WILLIAM
WITHOUT WORDS English
Score & Instrumental
Parts 232 x 303 mm Horn
and piano 28 NEW PR43
UKTNT 21/04/2021 P 303006
Roxanna Panufnik's
Sonnets without
Words is a
contemporary piece for
Horn in F and piano.
Written for horn player
Ben Goldscheider,
Panufnik has reimagined
the lyrical vocal lines
from three of her
previous settings of
Shakespeare's sonnets
(Mine eye, Music to
hear and Sweet
Love Remember'd for
voice and piano) into a
purely instrumental
work.
Score and
horn
part.
Contempo
rary work for Horn in F
and
piano
Settings of
Sheakespeare's Sonnets 8,
24 & 29 in instrumental
form
W03578|C|Y
W06737|LY|N 0.0000 Sheet
Music _x000D_ EP73571 Y
15.95 73571 P73571
MCNEFF, STEPHEN C
9790577021317 20 8000
0.00 Trig for Solo Cello
A 9790577021317 (SOLO)
CELLO EP73571 MCNEFF
PHOTOPRINTS SOLO STEPHEN
TRIG W03150 English
00:07:0 Instrumental
Score 232 x 303 mm Solo
Violoncello 8 NEW PR43
UKTNT 21/04/2021 P 303006
Stephen McNeff's
Trig is a short
7-minute contemporary
work for solo cello,
written to celebrate the
bicentennial of the Royal
Academy of Music in 2022
and in memorium cellist
Mike Edwards
1948-2010.
Trig
was premiered by
Henry Hargreaves on 19
March 2021, livestreamed
from the Royal Academy of
Music.
Contemp
orary piece for solo
cello
Written for
the Royal Academy of
Music's
bicentennial
W03150|C|Y 0.0000 Sheet
Music _x000D_ EP14528 Y
34.95 14528 P14528
SAUNDERS, REBECCA C
9790014136796 3 8000 0.00
to an utterance - study A
9790014136796 (SOLO) AN
EP14528 PHOTOPRINTS PIANO
REBECCA SAUNDERS STUDY TO
UTTERANCE W04191 English
Instrumental Score 420 x
297 mm Piano Solo 16
DETNT NEW PR43 21/04/2021
P 303006
to an
utterance - study
was commissioned by
Klangforum Wien for the
premiere commercial audio
recording on a portrait
CD in 2020 and first
performed by Joonas
Ahonen at the Berlin
Philharmonie on 4th
September 2020 at the
Musikfest Berlin.
W04191|C|Y 0.0000 Sheet
Music _x000D_ EP71880 Y
75.00 71880 P71880
PANUFNIK, ROXANNA C
9790577008332 82 8000
0.00 Spirit Moves for
Brass Quintet A
9790577008332 BRASS
ENSEMBLE EP71880 MOVES
PANUFNIK PHOTOPRINTS
QUINTET ROXANNA SPIRIT
W03578 English 00:15:0
Score & Instrumental
Parts 232 x 303 mm
Trumpet 1 in B flat
(doubling Piccolo
Trumpet), Trumpet 2 in B
flat (doubling Flugel
Horn), Horn in F,
Trombone, Tuba 84 NEW
PR43 UKTNT 21/04/2021 P
303006
Roxanna
Panufnik's Spirit
Moves, for brass
quintet, was commissioned
by the Fine Arts Brass
Ensemble. This 15-minute
piece is scored for two
trumpets in Bb (one
doubling piccolo trumpet
and the other doubling
flugel horn), horn in F,
trombone and tuba. This
brass quintet is so
called because the outer
movements are highly
spirited and the
central one is
spiritual.
This product consists of
score and parts.
W03578|C|Y 0.0000 Sheet
Music _x000D_ EP73585 Y
4.00 73585 P73585 369282
WILLIAMS, RODERICK C
9790577021591 1 151 8000
0.00 Eriskay Love Lilt A
9790577021591 (SECULAR)
CHORAL EP73585 ERISKAY
HALSTAN-USA LILT LOVE
RODERICK TRADITIONAL
W05152 WILLIAMS WORKS
English 00:03:0 190 x 272
mm SATB (divisi) and
piano 16 NEW PR30 UKTNT
20/05/2021 P 377788
A
gently flowing 3-minute
arrangement by Roderick
Williams for SATB (with
divisi) with piano
accompaniment that
captures the beauty of
this famous traditional
Hebridean love song. The
song text uses both old
dialect and English, each
verse ending with the
words, 'Sad am I without
thee'.
Commiss
ioned by The Sixteen
choir and recorded on
their 2021 album
'Goodnight
Beloved'
Roderick
Williams is a
composer/arranger and
also a world-renowned
baritone
The
arrangement is described
by Williams as 'having a
little nod to Ravel and
Grieg'
W05152|C|Y W04819|LY|N
0.0000 Sheet Music
_x000D_ 9780193556782 Y
23.50 X556782 357665
9780193556782 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556782 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0
High voice & piano High
voice book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556782
Young: A babe is
born
Rutter:
Angels' Carol
McDowall: Before the
paling of the stars
Rutter:
Candlelight Carol
Rutter: I sing
of a maiden
Chilcott: Mid-winter
Todd: My Lord
has Come
Bullard: Scots Nativity
Quartel: Snow
Angel
Todd:
Softly
Chilcott: Sweet was the
song
Chilcott:
The Shepherd's Carol
Quartel: This
endris night
McGlade: What child is
this?
for
high voice and piano
This beautiful
collection of 14 songs
for high voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for low voice and
piano.
14
songs for solo high
voice
Well-loved
composers, including John
Rutter and Bob
Chilcott
Wide
selection of sacred and
secular Christmas
texts
Accessible
accompaniments
Includes backing tracks
downloadable from a
Companion
Website
Available in volumes for
high and low solo
voice
MISC|AU|Y
0.0000 Paperback _x000D_
9780193559066 Y 4.25
X559066 357665
9780193559066 YOUNG C 1
444 8030 0.00 O splendour
of God's glory bright
PAPER 9780193559066
BRIGHT CHORAL GLORY GOD'S
MIXED OF OXFORD SACRED
SPLENDOUR TOBY VOICES
W06576 YOUNG C 00:03:30
SATB & organ Vocal score
254x178 SATB 20 NONE P
355580 9780193559066
for SATB and organ
This energetic
setting of words by St
Ambrose of Milan is a
real showstopper. With
pop-influences and a
sparkling organ part,
Young effortlessly fuses
modern and traditional
sound worlds, while
changes in key and metre
build up to an
invigorating finish.
Perfect for accomplished
choirs looking for
something different.
W06576|C|Y 0.0000
Paperback _x000D_
9780193554399 Y 2.60
X554399 357665
9780193554399 LASSUS,
ORLANDO DE C 1 445 8030
0.00 Oculus non vidit
PAPER 9780193554399
CHORAL DE KEANE LASSUS
MARK NON OCULUS ORLANDO
OXFORD SACRED UPPER VIDIT
VOICES W02750 B 00:01:30
SA unaccompanied Vocal
score 254x178 Upper
Voices - 3 parts or more
4 NONE 10/06/2021 P
355580 9780193554399
for SA unaccompanied
This simple, charming
two-part motet features
long melismatic phrases
that reflect the text (1
Corinthians 2: 9), such
as the rising melodic
line over three bars on
the word 'ascended'
(ascendit).
W02750|C|Y
W06960|E|N 0.0000
Paperback _x000D_
9780193954298 Y 3.35
X954298 357665
9780193954298 TALLIS,
THOMAS C 1 448 8030 0.00
Honor, virtus et potestas
PAPER 9780193954298
CANTICLES DUNKLEY ET
HONOR OXFORD POTESTAS
SALLY SERVICES TALLIS
THOMAS VIRTUS W04705 C
00:06:0 SAATB
unaccompanied Vocal score
MSER00020 SATB 12 NONE
28/05/2021 P 355580
9780193954298
for
SAATB unaccompanied.
This glorious musical
depiction of the honour,
strength, power and
authority of the Holy
Trinity by Thomas Tallis
is the third issue in the
CMS's series of great
English Responds from the
16th century, edited by
Sally Dunkley. Scored for
SAATB, it can be
performed either as a
motet or as a full
Responsory with plainsong
alternating with
polyphony.
W04705|C|Y
W01184|E|N 0.0000
Paperback _x000D_ EP73527
Y 6.95 73527 P73527
BEAMISH, SALLY C
9790577020891 50 8000
0.00 The Parting Glass A
9790577020891 (SOLO)
BEAMISH CLARINET EP73527
GLASS PARTING PHOTOPRINTS
SALLY W00306 English
Score 232 x 303 mm
Clarinet 4 NEW PR43 UKTNT
12/12/2020 P 303006
Based on a traditional
Scottish/Irish 'farewell'
song, this short piece is
one of six works written
to express my love of
Scotland. After living
there for nearly half my
life, and raising a
family, I moved back to
England in 2018, and
remarried in 2019.
Of course, there were
many different emotions
attached to the move
south: especially the joy
and excitement of new
beginnings, and
reconnection with friends
from my youth.
But this piece
expresses the wrench I
experienced after a last
family meal in Glasgow,
and the realisation of
all I was about to leave
behind.
I have
taken the melody of the
original song, and
expanded it, exploring
the detail of its
patterns, so that it
becomes a timeless
meditation.
The
six pieces in the
'farewell' series are for
6 violas, string quintet,
string quartet, trio,
violin and clarinet duo,
and solo clarinet.
The Parting Glass
was composed in 2020
during the coronavirus
lockdown, which
intensified the feeling
of separation from my
Scottish family, as well
as from other musicians.
It was
commissioned by Vittorio
Ceccanti for the
ContempoArtEnsemble.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73516 Y
6.95 73516 P73516
BEAMISH, SALLY C
9790577020747 20 8000
0.00 Maple A
9790577020747 (SOLO)
BEAMISH CELLO EP73516
MAPLE PHOTOPRINTS SALLY
W00306 English 00:06:0
Score 232 x 303 mm
Contemporary cello solo 8
NEW PR43 UKTNT 12/12/2020
P 303006 Seed; Spinning
Seed; Roots, shoots;
Leaves ; Flowers; Tree ;
Autumn ; Cello
Maple arose
from a commission to
write a work for solo
cello, to be performed
alongside readings from
artist John Newling's
collection of letters
entitled 'Dear Nature'; a
poetic manifestation of
our relationship with the
natural world.
The
piece is in eight short
sections, to be
interspersed with
readings of groups of the
poems. It may also be
performed as a single
movement. It begins with
a seed - the seed of a
maple tree, as it hangs
on the mature tree, ready
to drop. The seeds are
like propellers,
sometimes travelling more
than a mile before
landing on the ground.
Maple follows
the growth of the tree to
maturity - which in
reality would take at
least a hundred years.
'Roots, shoots' grows
downwards and upwards
from a pedal note, and
the dance-like 'Flowers'
is followed by the
stately 'Tree', and then
the warm, cascading
'Autumn'. Maple is very
often the wood of choice
for the back of a
stringed instrument, and
the last section uses
open strings to explore
the full resonance of the
cello.
The piece
starts with a 'seed' of
only five notes, which
grows into different
configurations. It is
intended to be played in
an improvisatory
style.
Maple was
co-commissioned by
Brighton Festival, Ars et
Terra Festival with SACEM
and Ditchling Arts and
Crafts Museum, to be
performed by Margarita
Balanas as part of the
Brighton Festival's 'Dear
Nature' project.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73508 Y
39.95 73508 P73508
DILLON, JAMES C
9790577020648 3 8000 0.00
echo the angelus A
9790577020648 (SOLO)
ANGELUS DILLON ECHO
EP73508 JAMES PHOTOPRINTS
PIANO W01097 English
00:25:0 Score 232 x 303
mm Piano Solo 44 NEW PR43
UKTNT 12/01/2021 P 303006
First performed by
Noriko Kawai for
Huddersfield Contemporary
Music Festival, in a
broadcast from the Radio
Theatre, BBC Broadcasting
House, November
2020.
Full of
beautifully crafted,
delicate
tintinnabulations -
Richard Morrison, The
Times
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
SKU: GI.G-10368 A Document History (1835-1935). Composed by Bryan ...(+)
SKU: GI.G-10368
A Document History
(1835-1935). Composed
by Bryan J. Proksch.
Music Education. 346
pages. GIA Publications
#10368. Published by GIA
Publications
(GI.G-10368).
ISBN
9781622776276.
This
is a fascinating and
important book for
everybody even remotely
interested in the history
of American bands. Bryan
Proksch has done some
painstakingly thorough
research in putting
together an amazing
assemblage of
documents… This is
a must-have book!
—Jon Ceander
Mitchell   The
Wind Music Research
Quarterly:
Mitteilungsblatt der IGEB
  (March 2022),
14–15 For the
scholar, each entry
presents an opportunity
for expansion. For the
teacher, this work
provides source readings
for courses on wind band
history or for
complementing Strunk or
Weiss-Taruskin in
university music history
courses. That said, these
documents stand as an
enriching and
entertaining read in
their own right for
anyone interested in the
subject. —Michael
O’Connor  Â
Historic Brass Today 1/2
(Spring 2022), 32 The
Golden Age of American
Bands is ideally suited
for courses on the
history and literature of
bands in America. Indeed,
this volume could suffice
as a textbook for
adventuresome teachers in
that it touches on the
major musicians,
instruments, ensembles,
and functions expected of
such a course. . . . Both
private and classroom
band instructors will
find compelling glimpses
into the history of their
craft. [It is] bursting
with opportunities to
inspire curiosity in
their students while
effectively supporting
their own curricular
goals. —Benjamin
D. Lawson and James A.
Davis   The
Journal of Music History
Pedagogy Proksch’s
new collection of
documents is a most
welcome step in the
direction of getting [the
story of bands] under
control. The
juxtaposition of
documents from so many
levels and types of
ensembles proves to have
a cumulative effect: one
begins to see the subtle
and long-lasting
connections among them
despite the big
differences. It is easy
to envision it as a
supplemental text in a
course on band history
and literature, but the
book is also just an
absorbing read. There is
much to learn here, and
much to enjoy.
—Ken Kreitner Â
 Notes 79/2 (December
2022): 217-218 This is
the story of the American
wind band, told
chronologically by those
who experienced it in
real time from 1835 to
1935. How did bands
become bands? How did
they rise in popularity?
Which figures had
insights and specific
impacts on the
development of the genre?
Through source documents
and articles, Bryan
Proksch takes us on an
extraordinary journey
from the time of the
first brass bands in the
1830s, through the Civil
War and the golden ages
of Gilmore and Sousa, to
the cusp of the wind
ensemble just before
World War II. Hear from a
young Frederick Fennell
about his efforts to
create the first band at
Eastman. Read the outline
of Allessandro
Liberati’s
unpublished trumpet
method book. Eavesdrop on
Karl L. King as he muses
on the fate of bands
after the death of Sousa.
See Patrick
Conway’s first
undergraduate music
education curriculum.
Gawk as trombonist
Fredrick Neil Innes
embarrasses
“world’s
greatest cornetistâ€
Jules Levy at Coney
Island. Explore as Alan
Dodworth revolutionizes
bands. Retreat with a
military band in the
middle of a Civil War
battle. Find out what it
felt like to sit in a
Sousa Band rehearsal. Ask
Herbert L. Clarke why he
thinks you should be
playing a cornet instead
of a trumpet. Find out
how P. S. Gilmore managed
to pull off the biggest
concert events in
American history. The
book includes numerous
rare and unknown
illustrations to show you
the places where band
history happened. The
documents include rare
periodical excerpts,
handwritten letters, and
other writings taken from
archives throughout the
United States. These
first-person accounts are
certain to further refine
and deepen our
understanding and
appreciation of American
band history on a grand
scale. Contents:
Beginnings
(1835–1859) The
Civil War
(1860–1865) The
Jubilees
(1866–1879) The
Gilded Age
(1880–1896) The
Band Age
(1897–1914) World
War I (1915–1919)
Transition and Decline
(1920–1935) Â
Click here to download a
FREE addenda. Bryan
Proksch is a
distinguished faculty
lecturer and associate
professor of music
history and literature at
Lamar University in
Beaumont, Texas. This is
his third book. His A
Sousa Reader: Essays,
Interviews, and Clippings
(GIA Publications, 2016)
explores the documents
relating to the life and
career of John Philip
Sousa.
Tenor Saxophone, Clarinet (Tenor Sax) SKU: HL.14016916 Music Sales Americ...(+)
Tenor Saxophone, Clarinet
(Tenor Sax)
SKU:
HL.14016916
Music
Sales America. Blues.
Book with CD. 52 pages.
Editions Musicales
Francaises #EMF100074.
Published by Editions
Musicales Francaises
(HL.14016916).
9.0x12.0x0.173
inches.
Les titres
de ce recueil sont issus
du grand repertoire des
Standards de jazz et de
Blues. Ce volume est
concu en deux parties. La
premiere partie presente
tous les themes, tels que
joues par le saxophoniste
tenor sur le CD Audio
fourni avec ce recueil.
La seconde partie offre a
l'instrumentiste les cles
pour une improvisation
reussie. Au debut de
chaque partie, une notice
pedagogique donne des
pistes de travail a
explorer ainsi que des
conseils sur la maniere
d'utiliser au mieux ce
livre. Les professeurs
trouveront aussi dans ce
volume un bon repertoire
de base pour initier
leurs eleves a l'etude
des musiques improvisees
que sont le jazz et le
blues. Concernant
l'utilisation du CD
audio, une plage est
laissee a l'accord de
l'instrument, puis chaque
oeuvre est developpee de
la maniere suivasnte: Le
theme de base est jour
par le saxophoniste tenor
(accompagne par le trio
Claviers-Basse-Batterie)
afin de 'montrer le
chemin' au musicien Le
theme original n'est plus
joue par le saxophoniste
et laisse entierement
place a l'instrumentiste
qui, accompagne de la
section rhythmique,
pourra laisser libre
cours a sa creativite
(exposition du theme puis
improvisationsur la
structure harmonique).
Nous vous souhaitons un
excellent voyage au pays
du jazz du blues et
esperons vous apprter un
reel plaisir a jouer ces
oeuvres. The titles in
this collection are
abstracts from the great
repertory of the
Standards of Jazz and
Blues. This book is made
of two parts. The first
one presents all the
themes such as perfromed
by the Tenor Saxophonist
on the Audio CD play
along furnished with this
volume. The second part
offers the performer keys
for a succesfull
improvisation. At the
beginning of each part, a
pedagogical content gives
work trails to explore so
as advice on how to use
at best this book. Music
teachers will also find
in this volume a good
basic repertory to
introduce improvised
music styles such a Jazz
and Blues to their
students. The first track
on the Audio CD is for
tuning, then each title
is developed as follows:
The basic theme is played
by the tenor saxophonist,
accompanied by the
keyboard/bass/drum trio,
to show the method to the
musician The original
theme is no more
interpreted by the
saxophonist and place is
left entirely at the
performer's disposal who,
accompanied by the rhythm
section, will give free
reins to his creativity
(theme exposition
followed by an
improvisation on the
harmonic structure).
Piano SKU: BT.EMBZ20084 Urtext (1932-1939). Composed by Bela Barto...(+)
Piano
SKU:
BT.EMBZ20084
Urtext
(1932-1939). Composed
by Bela Bartok. Arranged
by Yusuke Nakahara. EMB
Music of Bela Bartok.
Educational Tool. Book
Only. Composed 2021. 112
pages. Editio Musica
Budapest #EMBZ20084.
Published by Editio
Musica Budapest
(BT.EMBZ20084).
English-Hungarian.
Bartók's
Mikrokosmos has been one
of the milestones in
pedagogical piano
repertoire for 80 years -
and yet it is also far
more than a classical
piano primer. These 153
piano pieces, organized
in ascending order of
difficulty, engage not
only with technical
aspects of piano playing
but also with the
fundamentals of
composition - from
Imitation and Inversion,
Ostinato, and Free
Variations, concerning
compositional technique,
to mood pieces and pieces
with programmatic ideas
such as Notturno,
Boating, From the Diary
of a Fly, or the famous
Six Dances in Bulgarian
Rhythm. Mikrokosmos first
appeared in 1940 in six
volumes. Based on volume
40 of the Bartók
CompleteEdition published
in 2020(Z. 15040), the
present Urtext edition
offers the series
gathered in three
volumes. This edition
includes Bartók's
preface, exercises, and
notes written for the
first edition.
Furthermore, it also
features a preface and
comments by the editor,
which not only discuss
the genesis and the
compositional sources but
also provide performers,
teachers and pupils
alike, with authentic and
detailed information
about Bartók's
notation and the specific
performing problems of
Mikrokosmos.
String Quartet No.
3. Composed by
Shulamit Ran. Sws.
Contemporary. Full score.
With Standard notation.
Composed March 9 2013. 32
pages. Duration 23
minutes. Theodore Presser
Company #114-41690S.
Published by Theodore
Presser Company
(PR.11441690S).
UPC:
680160626021. 9 x 12
inches.
Ran's third
string quartet was
written for the Pacifica
Quartet, who are
featuring it in numerous
performances from May
2014 through February
2016, across the country
and abroad. Their blog
page dedicated to the
work also features the
composer's notes, for
more indepth insight.
...impassioned solos
emerge from ominous
quiet, and high arpeggios
in the violins quiver
alongside the earthy
cello. Ms. Ran skillfully
deploys these extremes of
color, volume and pitch,
yet the overall somewhat
chilly impression is one
of poise. -- Zachary
Woolfe, The New York
Times. My third string
quartet was composed at
the invitation of the
Pacifica
Quartet, whose
music-making I have come
to know closely and
admire hugely as resident
artists at the University
of Chicago. Already
in our early
conversations Pacifica
proposed that this
quartet might, in some
manner, refer to the
visual arts as a point of
germination. Probing
further, I found out that
the quartet members had
special interest in art
created during the
earlier part of the 20th
century, perhaps between
the two world wars.Â
It was my good fortune to
have met, a short while
later, while in residence
at the American Academy
in Rome in the fall of
2011, art conservationist
Albert Albano who steered
me to the work of Felix
Nussbaum (1904-1944), a
German-Jewish painter
who, like so many others,
perished in the Holocaust
at a young age, and who
left some powerful,
deeply moving art that
spoke to the life that
was unraveling around
him. The title of my
string quartet takes its
inspiration from a major
exhibit devoted to art by
German artists of the
period of the Weimar
Republic (1919-1933)
titled “Glitter and
Doom: German Portraits
from the 1920sâ€,
first shown at New
York’s
Metropolitan Museum of
Art in 2006-07.Â
Nussbaum would have been
a bit too young to be
included in this
exhibit. His most
noteworthy art was
created in the last very
few years of his short
life. The
exhibit’s
evocative title, however,
suggested to me the idea
of “Glitter, Doom,
Shards, Memory†as
a way of framing a
possible musical
composition that would be
an homage to his life and
art, and to that of so
many others like him
during that era.
 Knowing that their
days were numbered, yet
intent on leaving a mark,
a legacy, a memory, their
art is triumph of the
human spirit over
annihilation. Parallel
to my wish to compose a
string quartet that,
typically for this genre,
would exist as
“pure musicâ€,
independent of a
narrative, was my desire
to effect an awareness in
my listener of matters
which are, to me, of
great human concern.
 To my mind there is
no contradiction between
the two goals. Â As in
several other works
composed since 1969, this
is my way of saying
‘do not
forget’, something
that, I believe, can be
done through music with
special power and
poignancy. Â Â The
individual titles of the
quartet’s four
movements give an
indication of some of the
emotional strands this
work explores. 1)
“That which
happened†(das was
geschah) – is how
the poet Paul Celan
referred to the Shoah
– the Holocaust.
 These simple words
served for me, in the
first movement, as a
metaphor for the way in
which an
“ordinaryâ€
life, with its daily flow
and its sense of sweet
normalcy, was shockingly,
inhumanely, inexplicably
shattered. 2)
“Menace†is a
shorter movement,
mimicking a Scherzo.
 It is also
machine-like, incessant,
with an occasional,
recurring, waltz-like
little tune –
perhaps the chilling
grimace we recognize from
the executioner’s
guillotine mask. Â Like
the death machine it
alludes to, it gathers
momentum as it goes, and
is
unstoppable. 3) â
If I must perish - do
not let my paintings
dieâ€; these words
are by Felix Nussbaum
who, knowing what was
ahead, nonetheless
continued painting till
his death in Auschwitz in
1944. Â If the heart of
the first movement is the
shuddering interruption
of life as we know it,
the third movement tries
to capture something of
what I can only imagine
to be the conflicting
states of mind that would
have made it possible,
and essential, to
continue to live and
practice one’s art
– bearing witness
to the events.
 Creating must have
been, for Nussbaum and
for so many others, a way
of maintaining sanity,
both a struggle and a
catharsis – an act
of defiance and salvation
all at the same
time. 4)
“Shards,
Memory†is a direct
reference to my
quartet’s title.
 Only shards are left.
 And memory.  The
memory is of things large
and small, of unspeakable
tragedy, but also of the
song and the dance, the
smile, the hopes. All
things human. Â As we
remember, in the face of
death’s silence,
we restore dignity to
those who are
gone.—Shulamit
Ran .
Piano SKU: BT.EMBZ20083 Urtext (1932-1939). Composed by Bela Barto...(+)
Piano
SKU:
BT.EMBZ20083
Urtext
(1932-1939). Composed
by Bela Bartok. Arranged
by Yusuke Nakahara. EMB
Music of Bela Bartok.
Educational Tool. Book
Only. Composed 2021. 72
pages. Editio Musica
Budapest #EMBZ20083.
Published by Editio
Musica Budapest
(BT.EMBZ20083).
English-Hungarian.
Bartók's
Mikrokosmos has been one
of the milestones in
pedagogical piano
repertoire for 80 years -
and yet it is also far
more than a classical
piano primer. These 153
piano pieces, organized
in ascending order of
difficulty, engage not
only with technical
aspects of piano playing
but also with the
fundamentals of
composition - from
Imitation and Inversion,
Ostinato, and Free
Variations, concerning
compositional technique,
to mood pieces and pieces
with programmatic ideas
such as Notturno,
Boating, From the Diary
of a Fly, or the famous
Six Dances in Bulgarian
Rhythm. Mikrokosmos first
appeared in 1940 in six
volumes. Based on volume
40 of the Bartók
CompleteEdition published
in 2020(Z. 15040), the
present Urtext edition
offers the series
gathered in three
volumes. This edition
includes Bartók's
preface, exercises, and
notes written for the
first edition.
Furthermore, it also
features a preface and
comments by the editor,
which not only discuss
the genesis and the
compositional sources but
also provide performers,
teachers and pupils
alike, with authentic and
detailed information
about Bartók's
notation and the specific
performing problems of
Mikrokosmos.
Piano SKU: BT.EMBZ20085 Urtext (1932-1939). Composed by Bela Barto...(+)
Piano
SKU:
BT.EMBZ20085
Urtext
(1932-1939). Composed
by Bela Bartok. Arranged
by Yusuke Nakahara. EMB
Music of Bela Bartok.
Educational Tool. Book
Only. Composed 2021. 116
pages. Editio Musica
Budapest #EMBZ20085.
Published by Editio
Musica Budapest
(BT.EMBZ20085).
English-Hungarian.
Bartók's
Mikrokosmos has been one
of the milestones in
pedagogical piano
repertoire for 80 years -
and yet it is also far
more than a classical
piano primer. These 153
piano pieces, organized
in ascending order of
difficulty, engage not
only with technical
aspects of piano playing
but also with the
fundamentals of
composition - from
Imitation and Inversion,
Ostinato, and Free
Variations, concerning
compositional technique,
to mood pieces and pieces
with programmatic ideas
such as Notturno,
Boating, From the Diary
of a Fly, or the famous
Six Dances in Bulgarian
Rhythm. Mikrokosmos first
appeared in 1940 in six
volumes. Based on volume
40 of the Bartók
CompleteEdition published
in 2020(Z. 15040), the
present Urtext edition
offers the series
gathered in three
volumes. This edition
includes Bartók's
preface, exercises, and
notes written for the
first edition.
Furthermore, it also
features a preface and
comments by the editor,
which not only discuss
the genesis and the
compositional sources but
also provide performers,
teachers and pupils
alike, with authentic and
detailed information
about Bartók's
notation and the specific
performing problems of
Mikrokosmos.
Piano SKU: BT.EMBZ15150 Tagebucheintragungen, persönliche Botschaft...(+)
Piano
SKU:
BT.EMBZ15150
Tagebucheintragungen,
persönliche
Botschaften. Composed
by Gyorgy Kurtag.
Contemporary Music. Book
Only. Composed 2021. 72
pages. Editio Musica
Budapest #EMBZ15150.
Published by Editio
Musica Budapest
(BT.EMBZ15150).
English-German-Hungari
an.
The piano
series entitled Games,
written from 1973
onwards, was conceived as
a piano method. As the
years went by, the series
lost its didactic
character, at it came to
be seen as a document
from Kurtág's
workshop, offering a key
to his grander symphonic,
chamber and vocal works
as well.Tenth volume is
divided into two parts:
In the first half,
earlier, hitherto
unpublished pieces line
up from Suite, written in
1943, to the 1980s,
providing insight into
the development of
Kurtág's musical
language. The second half
includes pieces composed
between 2002 and 2011.
The movements, often
aphorismic in their
briefness, hide
associations with various
aspects of European music
history.Many of them are
hommage or in memoriam
pieces, or subjective
personal messages to
friends, colleagues, and
beloved family members -
and thereby to all
music-loving people. This
publication is printed on
high quality, durable
paper made from renewable
raw materials in an
environmentally friendly
way.
12 Recital Pieces in First Position for Cello and Piano or Two Celli. Edited b...(+)
12 Recital Pieces in
First
Position for Cello and
Piano
or Two Celli. Edited by
Christoph Sassmannshaus /
Melissa Lusk. Stapled.
Baerenreiter's
Sassmannshaus.
Performance score, parts.
16/23/21 pages pages.
Published by Baerenreiter
Verlag
18 Recital Pieces in First Position for Cello and Piano or Two Celli. Edited b...(+)
18 Recital Pieces in
First
Position for Cello and
Piano
or Two Celli. Edited by
Christoph Sassmannshaus /
Melissa Lusk. Stapled.
Baerenreiter's
Sassmannshaus.
Performance score, parts.
22/24/17 pages pages.
Published by Baerenreiter
Verlag
A cello method for children age four and older. Composed by Egon Saßmannshaus...(+)
A cello method for
children
age four and older.
Composed
by Egon Saßmannshaus and
Kurt
Sassmannshaus. Stapled.
With a
Chinese text booklet.
Performance score.
Baerenreiter Verlag
#BA10756.
Published by Baerenreiter
Verlag
Isthmus Chorale SATB [Conducteur] University Of York Music Press
SATB Choir SKU: BT.MUSM570368679 For choir and fixed media. Compos...(+)
SATB Choir
SKU:
BT.MUSM570368679
For choir and fixed
media. Composed by
Evis Sammoutis. Score
Only. Composed 2019. 14
pages. University of York
Music Press
#MUSM570368679. Published
by University of York
Music Press
(BT.MUSM570368679).
Isthmus denotes
a narrow strip of land
with sea on either side,
forming a link between
two larger ars of land.
The title is a metaphor
for an effort to bond
artistically my
experiences of living in
Cyprus, my birthplace,
and in the USA, my
recently adopted
homeland. Having lived in
a small, partitioned
island for my formative
years and in England for
eleven years, water has
always had a double
meaning: it has at once
served as a gateway to
other cultures but also
as a border, a violent
and absolute interruption
of a continuum. While in
the USA, or indeed in a
now connected Europe, it
is possible to travel on
land for days without
having to encounter a
border, in the countries
where I lived for most of
my life, that was not
possible. As an artist,
this notion of
establishing boundaries
and consciously trying to
break them is very close
to me, as my music deals
both with modernity but
also with tradition and,
similarly, with metaphor
and reality. As a
Cypriot, the sea, the
world of antiquity, the
mysteries of the oracles,
the notion of borders and
the pastoral are all very
central to my way of
thinking. In Cyprus,
different layers of
history are frequently
superimposed on a single
building that might still
preserve its Roman,
Byzantine, Venetian and
Ottoman features in its
layers of stone and
architecture. Similarly,
ancient ruins or the
barbed wire of modern
conflict often interrupt
placid fields. An
isthmus, therefore, can
be seen to symbolize my
artistic struggle to join
strikingly different
experiences and notions
in a cohesive way.
Similar to an isthmus, in
this short piece, I
connect these experiences
with the purpose of
creating a distinct and
unique sonic context,
connecting technology and
tradition, the pastoral
with the urban, the
musical with the
extra-musical and the
abstract with the
concrete. For example,
the choir does not always
sing in the traditional
sense, but the singers
imitate various natural
sounds, such as water,
air, crickets or birds,
to create a vivid visual
impression for the work.
Scandinavian herding
calls blend with field
recordings from the seas
of Cyprus and the lakes
of Upstate New York,
communicated within
clearly defined, singular
acoustic sources and
spaces through wireless
speakers. The text used
is both onomatopoeic,
articulating an imaginary
language, but also
literal, with a setting
of the poem, “To make a
prairie” by the iconic
American poet Emily
Dickinson and a tiny
fragment from
Callimachus’ “Hymn to
Demeter.” Technology is
used sparsely and very
intentionally to
articulate the expressive
qualities of pastoral
imagery, creating one
unified synthetic timbre
with the choristers’
sounds. This piece is
dedicated to the
wonderful singers of the
Georgia Institute of
Technology Chamber Choir
with special thanks to
Professors Hsu and
Ulrich, without whose
support this composition
would not have been
possible. Practical
notes: A choir of no
less than 24 singers is
sought with 4 additional
soloists (2 Sopranos and
2 Altos). Each singer
must have their own
wireless speaker, secured
either in the music
folder or as a strap
inside their shirts. All
sounds must match in
volume the sound from the
speakers, creating one
unified timbre. The
speakers should not be
noticeable to the public.
The four soloists are
placed offstage at the
beginning of the work.
From 1:35’ onwards they
enter the hall and take
their positions, ideally
at the four corners of
the hall. If the hall is
too large, the singers
can find alternate
positions, but these
should always be
antiphonal. The four
soloists sing
predominantly in the
“kulning” style and
the antiphonal aspect is
very important to the
work. There are two sound
files for each section
(SATB) that are triggered
by each singer’s mobile
device. The first occurs
at the start of the
piece, and the second,
about a minute before the
end. The sound files are
able to be purchased
separately, on CD, or are
available directly from
UYMP.
Estudio de Estilo. Composed by Jose Fuente. Carisch - Music Sales. Folk Musi...(+)
Estudio de Estilo.
Composed
by Jose Fuente. Carisch -
Music Sales. Folk Music.
Book with CD. 85 pages.
Play
Music Spain #CARML3360.
Published by Play Music
Spain
Edited by Jamey Aebersold. For any C, Eb, Bb, bass instrument or voice. Play-Alo...(+)
Edited by Jamey
Aebersold. For any C, Eb,
Bb, bass instrument or
voice. Play-Along series
with accompaniment CD.
Jazz Play-A-Long For All
Musicians. Book with CD.
Published by Jamey
Aebersold Jazz.
A Creative and Interactive Piano Course for Children. Composed by Hans-Guenter...(+)
A Creative and
Interactive
Piano Course for
Children.
Composed by Hans-Guenter
Heumann. This edition:
Saddle
stitching. Sheet music.
Piano. Method. Edition
with
Online audio file. 94
pages.
Schott Music #ED13803.
Published by Schott Music
A Creative and Interactive Piano Course for Children. Composed by Hans-Guent...(+)
A Creative and
Interactive
Piano Course for
Children.
Composed by Hans-Guenter
Heumann. This edition:
Saddle
stitching. Sheet music.
Piano. Classical.
Softcover
with CD. 40 pages. Schott
Music #ED13834. Published
by
Schott Music
A Creative and Interactive Piano Course for Children. Composed by Hans-Guenter...(+)
A Creative and
Interactive
Piano Course for
Children.
Composed by Hans-Guenter
Heumann. This edition:
Saddle
stitching. Sheet music.
Piano. Method. Softcover
Audio Online. 40 pages.
Schott Music #ED13833.
Published by Schott Music