| Tarantella Carl Fischer
Choral Double bass voice, Piano, Viola, Violin 1, Violin 2, SATB chorus SKU: ...(+)
Choral Double bass voice,
Piano, Viola, Violin 1,
Violin 2, SATB chorus
SKU: CF.CM9735
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS. Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hope Remains Within [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Brake Drum, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum and more. -
Grade 2.5 SKU:
CF.YPS217F Composed
by Zachary Cairns. Sws.
Yps. Full score. 24
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217F.
Published by Carl Fischer
Music (CF.YPS217F).
ISBN 9781491156551.
UPC: 680160915095. 9 x 12
inches. Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.). $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hope Remains Within - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Brake Drum, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum and more. -
Grade 2.5 SKU:
CF.YPS217 Composed by
Zachary Cairns. Folio.
Yps. Set of Score and
Parts.
8+8+4+8+8+4+2+6+4+4+4+8+8
+8+8+6+6+6+4+6+4+2+2+4+6+
10+24 pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217.
Published by Carl Fischer
Music (CF.YPS217).
ISBN 9781491156544.
UPC: 680160915088. 9 x 12
inches. Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.). $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Apollo Arise Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Mallet
Percussion, Marimba,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Piccolo, Snare Drum,
Suspended Cymbal and
more. - Grade 3 SKU:
CF.CPS200 Composed by
Travis Weller. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
2+8+8+4+8+16+16+4+4+4+4+4
+4+8+8+8+4+2+6+6+6+2+2+8+
2+2+3+6+6+24 pages.
Duration 3 minutes, 1
seconds. Carl Fischer
Music #CPS200. Published
by Carl Fischer Music
(CF.CPS200). ISBN
9781491152355. UPC:
680160909858. Altho
ugh some stories in Greek
mythology reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicating joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and the
performer. Program
NotesAmong the many
stories in Greek
mythology, Apollo holds a
unique place as a complex
Olympian god known for
truth, prophecy, healing,
poetry, plague,
knowledge, light and
music. Although some
stories reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicated joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band, ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and
performer. From the
dynamic opening fanfare
to the soaring motifs and
rhythms that follow,
Apollo Arise provides a
wonderful opportunity for
the ensemble to reach for
new musical heights in
their performance! Â
 Rehearsal Notes and
SuggestionsThe opening
twenty-four measures of
the work are important
for the rest of the work
to unfold successfully.
Encourage the ensemble to
play with a unified
articulation style,
maintain a proper
balance, and establish a
consistent tempo through
this section as several
recurring rhythms must be
performed consistently.
Measure 38 features a
trumpet solo, so be sure
that the rest of the
ensemble balances their
line to support the solo
instrument. In the
section that begins at m.
67, there is an optional
solo opportunity for
trumpet and trombone.
Both of these sections
provide nice contrast
against the full ensemble
sections that are present
in the work. The section
at m. 81 includes a
call-and-response section
between woodwind, brass
and percussion groups. Be
sure that as groups
enter, the tempo remains
consistent and that the
winds articulation style
is unified and
complimentary to the
percussion. As the
opening fanfare returns
at m. 101, remind the
ensemble to play with
consistent style, balance
and tempo as they did in
the opening. As the
ensemble begins the part
of the journey with
Apollo at m. 110, the
music contains unique
layers that must work
together to be effective
and set up the material
that begins at m. 127.
Encourage the group to
play so they can hear all
other lines, and allow
their energy to grow into
a focused musical
celebration by the final
note. Thank you in
advance for your support
of this music, and I wish
you and your ensemble
well as Apollo Arise
welcomes the audience to
your concert hall. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Apollo Arise Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Mallet
Percussion, Marimba,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Piccolo, Snare Drum,
Suspended Cymbal and
more. - Grade 3 SKU:
CF.CPS200F Composed
by Travis Weller. Concert
Band (CPS). Full score.
With Standard notation.
24 pages. Carl Fischer
Music #CPS200F. Published
by Carl Fischer Music
(CF.CPS200F). ISBN
9781491153031. UPC:
680160910533. Altho
ugh some stories in Greek
mythology reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicating joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and the
performer. Program
NotesAmong the many
stories in Greek
mythology, Apollo holds a
unique place as a complex
Olympian god known for
truth, prophecy, healing,
poetry, plague,
knowledge, light and
music. Although some
stories reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicated joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band, ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and
performer. From the
dynamic opening fanfare
to the soaring motifs and
rhythms that follow,
Apollo Arise provides a
wonderful opportunity for
the ensemble to reach for
new musical heights in
their performance! Â
 Rehearsal Notes and
SuggestionsThe opening
twenty-four measures of
the work are important
for the rest of the work
to unfold successfully.
Encourage the ensemble to
play with a unified
articulation style,
maintain a proper
balance, and establish a
consistent tempo through
this section as several
recurring rhythms must be
performed consistently.
Measure 38 features a
trumpet solo, so be sure
that the rest of the
ensemble balances their
line to support the solo
instrument. In the
section that begins at m.
67, there is an optional
solo opportunity for
trumpet and trombone.
Both of these sections
provide nice contrast
against the full ensemble
sections that are present
in the work. The section
at m. 81 includes a
call-and-response section
between woodwind, brass
and percussion groups. Be
sure that as groups
enter, the tempo remains
consistent and that the
winds articulation style
is unified and
complimentary to the
percussion. As the
opening fanfare returns
at m. 101, remind the
ensemble to play with
consistent style, balance
and tempo as they did in
the opening. As the
ensemble begins the part
of the journey with
Apollo at m. 110, the
music contains unique
layers that must work
together to be effective
and set up the material
that begins at m. 127.
Encourage the group to
play so they can hear all
other lines, and allow
their energy to grow into
a focused musical
celebration by the final
note. Thank you in
advance for your support
of this music, and I wish
you and your ensemble
well as Apollo Arise
welcomes the audience to
your concert hall. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Samudra Manthan 1 Piano, 4 mains Zen-On
One Piano Four Hands. Composed by Akira Nishimura. Piano Duet. Classical. Sof...(+)
One Piano Four Hands.
Composed by Akira
Nishimura.
Piano Duet. Classical.
Softcover. Zen-On
#ZN169027.
Published by Zen-On
$23.99 - Voir plus => Acheter | | |
| La Belle Hélène Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1125039-140 Arranged by Wil v...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-1125039-140
Arranged by Wil van der
Beek. Great Classics.
Score Only. Composed
2012. 44 pages. De Haske
Publications #DHP
1125039-140. Published by
De Haske Publications
(BT.DHP-1125039-140).
9x12 inches.
English-German-French-Dut
ch. Offenbach (1819
- 1880), who was born in
Germany, moved to Paris
when he was a teenage boy
and remained there for
much of his life. He
became especially famous
as a composer of numerous
operettas. and of one
famous opera: Les
Contes
d’Hoffmann
(The Tales of Hoffmann).
His operettas (or
‘musiquettesâ€
) were often based on
comical, or satirical
librettos. He makes fun
of Parisian daily life,
dignitaries, the
military, the
pretentiousness of the
Grand Opéra, and so
on. In that respect,
Offenbach’s
operettas are not really
comparable with those of
his German-speaking
contemporaries, for
example, Franz Lehár
and Johann Strauss the
Younger. Musically
speaking, we could
callOffenbach’s
operettas lively, funny,
melodious and catchy.For
La Belle
Hélène,
Offenbach drew from Greek
mythology. The story is
based on that of Helen of
Troy, but is set in
France, halfway through
the 19th century; it has
been turned into a satire
on the élite of that
time.The overture to
La Belle
Hélène was (and
still is) very
successful. Offenbach
combined a number of
arias and choruses from
the operetta to give a
taste of what is to
follow. Many overtures
which follow this form
lack unity and structure.
However, in this case the
composition has been well
thought-out.
Offenbach
(1819-1880), Duitser van
geboorte, verhuisde als
jongeman naar Parijs,
waar hij een groot deel
van zijn leven verbleef.
Hij werd vooral beroemd
als componist van
talrijke operettes en een
beroemde opera: Les
Contes
d’Hoffmann.
Zijn operettes (of
‘musiquettesâ€
) zijn qua libretto vaak
komisch en hilarisch, ja
zelfs satirisch. Hij
steekt hierin de draak
met het Parijse mondaine
leven, met
hoogwaardigheidsbekleders
, met militairen, met de
bombast van de Grand
Opéra, enzovoort. In
dat opzicht zijn
Offenbachs operettes
nauwelijks te vergelijken
met die in Duitsland van
bijvoorbeeld Franz
Lehár en Johann
Strauss jr. Muzikaal
gezien kunnen we zijn
operettes
levendig,geestig,
melodieus en goed in het
gehoor liggend
noemen.Voor La Belle
Hélène putte
Offenbach uit de Griekse
mythologie. Het verhaal
draait om Helena van
Troje, maar is verplaatst
naar Frankrijk,
halverwege de negentiende
eeuw; het is uitgewerkt
tot een satire op de
heersende elite.De
ouverture van La Belle
Hélène was (en
is nog altijd) zeer
succesvol. Offenbach
heeft hierin een aantal
aria’s en koren
uit de operette
samengevoegd - een
voorproefje dus op wat
komen gaat. Veel
ouvertures die zo zijn
gemaakt, missen eenheid
en structuur. In dit
geval is er echter sprake
van een goed doordachte
opbouw.
Der
gebürtige Deutsche
Jacques Offenbach
(1819-1880) zog im
Jugendalter nach Paris,
wo er den größten
Teil seines Lebens
verbrachte. Bekannt wurde
er vor allem als
Komponist zahlreicher
Operetten und einer
berühmten Oper: Les
Contes
d’Hoffmann
(Hoffmanns
Erzählungen). Seine
Operetten (oder
Musiquettes“)
basierte er häufig auf
komischen oder gar
satirischen Libretti.
Darin wird das mondäne
Pariser Leben karikiert
mit seinen
Würdenträgern,
Militärs, dem Pomp der
Grand Opéra und
dergleichen mehr. In
dieser Hinsicht sind
Offenbachs Operetten
vergleichbar mit den
deutschen Werken eines
Franz Lehár oder
Johann Strauss (Sohn).
Musikalisch betrachtet
können Offenbachs
Operetten alslebendig,
amüsant, melodiös
und eingängig
beschrieben werden.
Für La Belle
Hélène bediente
sich Offenbach der
griechischen Mythologie.
Die Handlung beruht auf
Helena von Troja, wurde
aber ins Frankreich der
Mitte des 19.
Jahrhunderts versetzt und
in eine Satire auf die
damals herrschende Elite
verwandelt.Die
Ouvertüre von La
Belle Hélène
war und ist sehr
erfolgreich. Offenbach
kombinierte darin eine
Reihe von Arien und
Chorstellen aus der
Operette und lieferte so
quasi einen Vorgeschmack
auf das Folgende. Vielen
auf diese Weise
entstandene Ouvertüren
mangelt es an
Einheitlichkeit und
Struktur. Diese
Ouvertüre zeugt jedoch
von einem gut
durchdachten Aufbau.
Jacques Offenbach
est né en Allemagne en
1819. Sa famille
s’installe Paris
alors qu’il est
encore adolescent et
c’est l
qu’il passe la
plus grande partie de sa
vie. Il devient
particulièrement
célèbre pour la
composition de nombreuses
opérettes et
d’un opéra
légendaire, Les
Contes
d’Hoffmann.
Ses opéras-bouffes (ou
« musiquettes »)
s’inspirent
souvent de livrets
comiques ou satiriques.
Il parodie la vie
quotidienne Paris, se
moque des dignitaires, de
l’armée, de la
prétention du grand
opéra, et ainsi de
suite. cet égard, les
œuvres
d’Offenbach ne
sont pas vraiment
comparables aux
opérettes de ses
contemporains
germanophones tels que
Franz Lehár ou
encoreJohann Strauss le
jeune. Musicalement
parlant, on peut dire que
les opéras-bouffes
d’Offenbach sont
entraînants,
spirituels, mélodieux
et mémorables.Jacques
Offenbach s’est
inspiré de la
mythologie pour composer
La Belle
Hélène, dont le
livret brosse
l’histoire
d’Hélène de
Troie. Mais parodiant
l’une des
légendes grecques des
plus illustres, cette
opérette se veut
être une satire sur
l’élite de
l’époque.Lâ€
™ouverture de La
Belle Hélène a
toujours été
très populaire.
Offenbach y glisse
plusieurs arias et
chœurs repris
ensuite dans l’un
ou l’autre acte de
l’opérette,
afin d’en offrir
un avant-go t
l’auditoire. De
nombreux compositeurs
écrivirent par la
suite des ouvertures de
canevas identique. Bien
qu’un grand nombre
d’entre elles
manquent
d’unité et de
structure,
l’ouverture de La
Belle Hélène en est
une exception
notoire. $45.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Four Winds Violon - Intermédiaire Universal Edition
| | |
| Fortuna Trompette, Piano - Avancé De Haske Publications
Trumpet and Piano - advanced SKU: BT.DHP-1196087-401 Recitativo, Arios...(+)
Trumpet and Piano -
advanced SKU:
BT.DHP-1196087-401
Recitativo, Arioso e
Scherzo. Composed by
Jan Hadermann. De Haske
Trumpet Series. Book and
Part(s). Composed 2019.
12 pages. De Haske
Publications #DHP
1196087-401. Published by
De Haske Publications
(BT.DHP-1196087-401).
ISBN 9789043157254.
English-German-French-Dut
ch. Fortuna
for trumpet and piano
came about as a
commission by the Belgian
trumpeter Manu Mellaerts.
The title of the work
refers to the goddess
Fortuna of Roman
mythology, who represents
fate and fortune. The
composition is
characterised by its
modern but by no means
avant-garde tonal
language, with which
composer Jan Hadermann
creates a wide variety of
musical expression. This,
together with its playing
time of some nine
minutes, makes
Fortuna an ideal
examination work for the
conservatory-level
student.
Fortun
a voor trompet en
piano is in opdracht van
de Belgische trompettist
Manu Mellaerts
geschreven. De titel
verwijst naar de Romeinse
godin Fortuna, die in de
mythologie staat voor het
(nood)lot. Het stuk wordt
gekenmerkt door een
moderne maar niet
avant-gardistische stijl,
waarmee componist Jan
Hadermann een weidse
variatie aan muzikale
expressie aanboort.
Hierdoor en door de
speelduur van circa negen
minuten past
Fortuna perfect in
het examenprogramma van
de
conservatoriumstudent.
Fortuna
für Trompete und
Klavier entstand im
Auftrag des belgischen
Trompeters Manu
Mellaerts. Der Titel des
Stückes verweist auf
die römische Göttin
Fortuna, welche
mythologisch für das
Schicksal steht. Die
Komposition zeichnet sich
durch ihre moderne,
jedoch nicht
avantgardistische
Tonsprache aus, mit der
der Komponist Jan
Hadermann eine große
musikalische
Ausdrucksvielfalt
realisiert. Dadurch sowie
aufgrund seiner
Spieldauer von etwa neun
Minuten ist
Fortuna ein
ideales Examenswerk
für
Hochschulstudenten. Fortuna pour
trompette et piano est
une Å“uvre
commandée par le
trompettiste belge Manu
Mellaerts. Le titre de la
pièce fait
référence la
déesse romaine
Fortuna, incarnation du
destin dans la mythologie
romaine. Cette
composition se distingue
par le langage musical,
moderne sans être
avant-gardiste, gr ce
auquel le compositeur Jan
Hadermann lui confère
une grande
expressivité musicale
sous diverses formes.
Formant un total
d’environ neuf
minutes, ces qualités
font de Fortuna
une pièce
d’examen idéale
pour les élèves des
conservatoires. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ronan Doherty: The Children Of Lir (Pupil's Book) Chorale Unison Music Sales
Choir SKU: HL.14006560 Composed by Ronan Doherty. Music Sales America. TV...(+)
Choir SKU:
HL.14006560 Composed
by Ronan Doherty. Music
Sales America.
TV-Film-Musical-Show.
Book [Softcover].
Composed 2015. Music
Sales #GA10710. Published
by Music Sales
(HL.14006560). ISBN
9780711935075.
English. A
versatile and exciting
musical for children,
based on a beautiful tale
from Irish Celtic
mythology, combining
narrative, short
dramatised scenes, songs
and improvised
percussion. If you need
to license a school/youth
theatre performance of
this product, please use
the online application
form. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Red Cape Tango Orchestre [Conducteur] Peermusic Classical
(Full Score). By Michael Daugherty (1954-). Full Score. Peermusic Classical. 76 ...(+)
(Full Score). By Michael
Daugherty (1954-). Full
Score. Peermusic
Classical. 76 pages.
Peermusic #61933-856.
Published by Peermusic
$39.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
$399.98 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fury Of The Gods Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Concert band - Grade 2 SKU: CL.011-4357-01 Composed by Romeyn. Young Conc...(+)
Concert band - Grade 2
SKU:
CL.011-4357-01
Composed by Romeyn. Young
Concert Band. Command
Series. Audio recording
available separately
(item CL.WFR385). Extra
full score. Composed
2015. Duration 2 minutes,
49 seconds. C.L.
Barnhouse #011-4357-01.
Published by C.L.
Barnhouse
(CL.011-4357-01).
This dynamic
concert/festival work for
young band is inspired by
the warriors of Greek
mythology. A bold and
dramatic opening
immediately engages the
audience. The intensity
begins with vibrant
rhythms and bold
contrasts. The musical
intensity builds
dramatically, leading to
a powerful conclusion.
Accessible to a wide
range of bands, Fury Of
The Gods offers many
teaching opportunities,
and is a valuable
addition to the young
band repertoire.
About C.L.
Barnhouse Command
Series The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hermes Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1135406-140 Concert Marc...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1135406-140
Concert March.
Composed by Hayato
Hirose. Brilliant
Marches. Score Only.
Composed 2013. 20 pages.
De Haske Publications
#DHP 1135406-140.
Published by De Haske
Publications
(BT.DHP-1135406-140).
9x12 inches.
English-German-French-Dut
ch. In Greek
mythology Hermes was the
messenger of the gods,
and the god of merchants.
The piece starts with a
powerful four-measure
introduction, followed by
the solemn 1st theme and
the heroic 2nd theme.
After the gentle trio
section, the music
increases in tension with
several key changes, and
a dynamic grand finale
concludes the piece. This
is a spirited concert
march with positive
musical energy throughout
the piece.
Hermes
is de Griekse god van de
handel en de boodschapper
van de goden. Dit
gelijknamige werk van
Hirose begint met een
krachtige inleiding in
vierkwartsmaat. Na dit
begin volgen een plechtig
eerste thema en een hero
sch tweede thema. Even is
daareen zacht triodeel.
Maar niet voor
lang… Verschillende
wisselingen in de
toonsoort laten de
spanning alsmaar
toenemen, totdat een
grote finale het stuk
besluit. Een levendige
concertmars vol positieve
energie!
Hermes
, benannt nach dem
griechischen Gott der
Kaufleute und
Götterboten Hermes,
setzt mit einer
kraftvollen viertaktigen
Einleitung ein, der ein
feierliches erstes Thema
und ein heroisches
zweites Thema folgen.
Nach einem sanften
Trio-Teil nimmt die Musik
mittels mehrerer
Tonartwechsel an Spannung
zu, bevor ein großes
Finale das Stück
beendet. Ein lebhafter
Konzertmarsch, der
durchweg positive Energie
ausstrahlt!
Dans
la mythologie grecque,
Hermès était le
messager des dieux et le
dieu des marchants. La
pièce s’ouvre
avec une introduction
puissante de quatre
mesures, suivie
d’un premier
thème solennel et
d’un second
thème héro que.
Après un paisible
trio, la tension
s’accentue au
_x001F_l de plusieurs
changements de
tonalité avant un
_x001F_nale dynamique qui
achève la pièce.
Cette marche de concert
pleine d’entrain
déborde d’une
énergie musicale
très positive.
Hermes,
dal nome della divinit
della mitologia greca che
svolgeva il ruolo di
messaggero degli dei,
apre con una potente
introduzione di quattro
misure, seguita da un
primo tema solenne e da
un secondo in stile
eroico. Dopo un delicato
trio, la tensione aumenta
attraverso numerosi cambi
di tonalit , prima del
dinamico finale. Una
vivace marcia da concerto
che emana energie
positive! $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hermes Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1135406-010 Concert Marc...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1135406-010
Concert March.
Composed by Hayato
Hirose. Brilliant
Marches. Set (Score &
Parts). Composed 2013. De
Haske Publications #DHP
1135406-010. Published by
De Haske Publications
(BT.DHP-1135406-010).
9x12 inches.
English-German-French-Dut
ch. In Greek
mythology Hermes was the
messenger of the gods,
and the god of merchants.
The piece starts with a
powerful four-measure
introduction, followed by
the solemn 1st theme and
the heroic 2nd theme.
After the gentle trio
section, the music
increases in tension with
several key changes, and
a dynamic grand finale
concludes the piece. This
is a spirited concert
march with positive
musical energy throughout
the piece.
Hermes
is de Griekse god van de
handel en de boodschapper
van de goden. Dit
gelijknamige werk van
Hirose begint met een
krachtige inleiding in
vierkwartsmaat. Na dit
begin volgen een plechtig
eerste thema en een hero
sch tweede thema. Even is
daareen zacht triodeel.
Maar niet voor
lang… Verschillende
wisselingen in de
toonsoort laten de
spanning alsmaar
toenemen, totdat een
grote finale het stuk
besluit. Een levendige
concertmars vol positieve
energie!
Hermes
, benannt nach dem
griechischen Gott der
Kaufleute und
Götterboten Hermes,
setzt mit einer
kraftvollen viertaktigen
Einleitung ein, der ein
feierliches erstes Thema
und ein heroisches
zweites Thema folgen.
Nach einem sanften
Trio-Teil nimmt die Musik
mittels mehrerer
Tonartwechsel an Spannung
zu, bevor ein großes
Finale das Stück
beendet. Ein lebhafter
Konzertmarsch, der
durchweg positive Energie
ausstrahlt!
Dans
la mythologie grecque,
Hermès était le
messager des dieux et le
dieu des marchants. La
pièce s’ouvre
avec une introduction
puissante de quatre
mesures, suivie
d’un premier
thème solennel et
d’un second
thème héro que.
Après un paisible
trio, la tension
s’accentue au
_x001F_l de plusieurs
changements de
tonalité avant un
_x001F_nale dynamique qui
achève la pièce.
Cette marche de concert
pleine d’entrain
déborde d’une
énergie musicale
très positive.
Hermes,
dal nome della divinit
della mitologia greca che
svolgeva il ruolo di
messaggero degli dei,
apre con una potente
introduzione di quattro
misure, seguita da un
primo tema solenne e da
un secondo in stile
eroico. Dopo un delicato
trio, la tensione aumenta
attraverso numerosi cambi
di tonalit , prima del
dinamico finale. Una
vivace marcia da concerto
che emana energie
positive! $110.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Syrinx for Unaccompanied Tenor Trombone - Avancé Cherry Classics
Unaccompanied Tenor Trombone - advanced SKU: CY.CC2515 Composed by Claude...(+)
Unaccompanied Tenor
Trombone - advanced
SKU: CY.CC2515
Composed by Claude
Debussy. Arranged by
Ralph Sauer. French
Impressionist. Booklet.
Published by Cherry
Classics (CY.CC2515).
Debussy
composed this
breathtaking
unaccompanied work in
1913, and it became the
first solo work for the
Bohm flute and the first
solo work by a major
composer since C.P.E.
Bach almost 150 years
earlier! The music
allows wide latitude for
interpretation and can
really show off the
musical imagination of
the performer. The
great French flautist
Marcel Moyse is credited
with adding phrasing and
barlines to his friend
Debussy's new work. In
classical mythology,
Syrinx was a nymph and a
follower of Artemis,
known for her chastity.
Pursued by the amorous
Greekgod Pan, she ran to
a river's edge and asked
for assistance from the
river nymphs. In answer,
she was transformed into
hollow water reeds that
made a haunting sound
when the god's frustrated
breath blew across them.
Pan cut the reeds to
fashion the first set of
pan pipes, which were
thereafter known as
syrinx. This work of 2
1/2 minutes for advanced
performers can add a new
dimension to your
recital, as it is often
performed offstage. The
sample performance was
recorded by Ralph Sauer
in May 2012. $15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Linos For Harp Harpe EMB (Editio Musica Budapest)
Harp (Harp) SKU: HL.50511754 Solo. Composed by Laszlo Tihanyi. Con...(+)
Harp (Harp) SKU:
HL.50511754
Solo. Composed by
Laszlo Tihanyi.
Contemporary Music. EMB.
Contemporary Hungarian
Works. Book Only. Editio
Musica Budapest #Z14358.
Published by Editio
Musica Budapest
(HL.50511754). ISBN
9790080143582. B/4 quer
inches. Hungarian,
English. Laszlo
Tihanyi. Greek
mythology seems
spontaneously to have
offered the figure of
linos as the central
character in a work for
solo harp. (Linos was a
poet, believed to be the
brother of Orpheus, and
according to Greek
tradition no greater
musician ever appeared
among mankind.) The
musical material,
conforming to the
characteristics of the
harp, consits of two
interesting seven-degree
note rows incorporating
all the possible pedal
combinations, their
mirror inversions and the
five-degree noterows that
fit between them. The
nine-section composition
is made up of scenes from
the imagined life of
Linos, an imagined
'Linos's hymn', and
laments played in his
honour. $29.45 - Voir plus => Acheter | | |
| Attis For Violin Solo Violon [Conducteur] EMB (Editio Musica Budapest)
Violin (VIOLIN SOLO) SKU: HL.50487759 (1986). Composed by Laszlo T...(+)
Violin (VIOLIN SOLO)
SKU: HL.50487759
(1986). Composed
by Laszlo Tihanyi. EMB.
Score Only. Composed
1997. Duration 11'.
Editio Musica Budapest
#Z14099. Published by
Editio Musica Budapest
(HL.50487759). ISBN
9790080140994. A/4
inches. Hungarian,
English. Laszlo
Tihanyi. The piece
was composed at the
request of violinist
Eszter Perenyi, my
colleague at the Ferenc
Liszt Academy of Music,
and was several times
amond the optional pieces
of the yearly violin
competition for students.
It was inspired by the
famous 63rd poem of
Catullus that tells the
story of Attis: the hero
of the Greek mythology
arrives at the Mount Ida
in Frygia, to the
invitation of the goddess
Cybele, and becomes her
lover. The Gallas,
certitude priests of
Cybele chase him into
delirious dance, by the
end of which he castrates
himself. On waking from
his paralysed dream he
entreats in vain for his
virility and freedom to
Cybele, he will remain
servant of the goddess
for eternity. My work
tells the story in four
parts: 1) Attis' ecstasy
2) Dance of the Gallas 3)
Attis' dream 4) Attis'
entreaty. The Catullian
galliambic metric that
first appears in the
'prologue' of the piece,
becomes the
organisational principle
of almost all musical
aspects of it.
(Hungaroton HCD
32484). $16.45 - Voir plus => Acheter | | |
| Donar Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band (Score) - Grade 4 SKU: HL.44012989 For Concert Band (Scor...(+)
Concert Band (Score) -
Grade 4 SKU:
HL.44012989 For
Concert Band (Score).
Composed by Jan Van der
Roost. De Haske Concert
Band. March. Softcover.
Composed 2017. De Haske
Publications #1175742140.
Published by De Haske
Publications
(HL.44012989). UPC:
888680706104.
English-German-French-Dut
ch. This noble
concert march was
commissioned by the
Musikverein Heek,
Germany, for its 125th
anniversary. In German
mythology, Donar is the
God of Thunder, and in
the area around Heek,
'Thunder Mountain' is a
household name. The work
begins with a stately
opening, followed by a
beautiful trio melody
with rhythmical and
energetic sections. This
is a march that features
and showcases a range of
musical aspects. It is
perfect as an opener or
to create variety during
a concert. $15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Donar Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band (Score & Parts) - Grade 4 SKU: HL.44012988 For Concert Ba...(+)
Concert Band (Score &
Parts) - Grade 4 SKU:
HL.44012988 For
Concert Band
(Score/Parts).
Composed by Jan Van der
Roost. De Haske Concert
Band. Concert Piece.
Softcover. Composed 2017.
De Haske Publications
#1175742010. Published by
De Haske Publications
(HL.44012988).
English-German-French-
Dutch. This noble
concert march was
commissioned by the
Musikverein Heek,
Germany, for its 125th
anniversary. In German
mythology, Donar is the
God of Thunder, and in
the area around Heek,
'Thunder Mountain' is a
household name. The work
begins with a stately
opening, followed by a
beautiful trio melody
with rhythmical and
energetic sections. This
is a march that features
and showcases a range of
musical aspects. It is
perfect as an opener or
to create variety during
a concert. $92.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Hammer of Thor Orchestre d'harmonie [Conducteur et Parties séparées] Wingert-Jones Publications
Composed by Darren W. Jenkins. Early Achievement Series. Concert, contest. Scor...(+)
Composed by Darren W.
Jenkins. Early
Achievement Series.
Concert, contest. Score
and parts. Published by
Wingert-Jones
Publications
(WJ.3016531).
$40.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Wrath Of The Titans Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Concert band - Grade 2 SKU: CL.024-4382-01 Composed by Neeck. Young Conce...(+)
Concert band - Grade 2
SKU:
CL.024-4382-01
Composed by Neeck. Young
Concert Band. Rising Band
Series for Developing
Bands! Audio recording
available separately
(item CL.WFR386). Extra
full score. Composed
2015. Duration 2 minutes,
22 seconds. C.L.
Barnhouse #024-4382-01.
Published by C.L.
Barnhouse
(CL.024-4382-01).
Drawing
inspiration from Greek
mythology, using bold and
aggressive themes, this
Larry Neeck work depicts
the awesome power of the
titans who once ruled the
earth. Varied auxiliary
percussion colors add an
extra sparkle to both the
lyrical and forceful
motifs. With plenty of
teachable musical
moments, Wrath of the
Titans provides an
exciting and musically
rewarding experience for
all. $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ancient Legends Orchestre à Cordes - Facile Highland/Etling
Composed by Gary Fagan. Orchestra. Part(s); Score; String Orchestra. Highland St...(+)
Composed by Gary Fagan.
Orchestra. Part(s);
Score; String Orchestra.
Highland String
Orchestra. Grade 2.5. 124
pages. Published by
Highland/Etling
$48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Red Cape Tango Orchestre Symphonique [Conducteur] Peermusic Classical
(for Symphonic Band - Full Score). By Michael Daugherty (1954-). Full Score. Pee...(+)
(for Symphonic Band -
Full Score). By Michael
Daugherty (1954-). Full
Score. Peermusic
Classical. 76 pages.
Peermusic #62015-801.
Published by Peermusic
$34.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Donar Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1175742-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-1175742-010
Composed by Jan Van der
Roost. Brilliant Marches.
Concert Piece. Set (Score
& Parts). Composed 2017.
De Haske Publications
#DHP 1175742-010.
Published by De Haske
Publications
(BT.DHP-1175742-010).
English-German-French-
Dutch. This noble
concert march was
commissioned by the
Musikverein Heek,
Germany, for its 125th
anniversary. In German
mythology, Donar
is the God of Thunder,
and in the area around
Heek, ‘Thunder
Mountain’ is a
household name. The work
begins with a stately
opening, followed by a
beautiful trio melody
with rhythmical and
energetic sections. This
is a march that features
and showcases a range of
musical aspects. It is
perfect as an opener or
to create variety during
a concert.
Deze
nobele concertmars werd
geschreven in opdracht
van de Duitse Musikverein
Heek, ter gelegenheid van
het 125-jarig bestaan van
deze vereniging in 2017.
De première vond onder
leiding van de componist
op 2 september plaats in
de gemeente Heek.
Donar is de
dondergod uit de
Germaanse mythologie en
er is een specifieke
reden voor de keuze van
deze naam: in de regio
rond Heek is de
‘Donderberg’
een begrip, zodat deze
titel zeer toepasselijk
is. Het lage register
komt een paar keer
duidelijk op de voorgrond
om de donder en bliksem
weer te geven. Het werk
begint echter met een
plechtstatige
‘entree’ een
godheid waardig! De
triomelodie daarentegen
is naar de
loffelijkegewoonte van
Jan Van der Roost
zangerig en melodieus.
Kortom: dit is een mars
die diverse muzikale
aspecten bevat en
etaleert.
Dieser
prachtvolle Konzertmarsch
wurde vom Musikverein
Heek aus Deutschland
anlässlich seines
125-jährigen Bestehens
in Auftrag gegeben. In
der germanischen
Mythologie ist
Donar“ der Gott des
Donners, und in der
Gegend um Heek ist
Donnerberg“ ein
gebräuchlicher
Begriff. Das Werk beginnt
mit einer
majestätischen
Einleitung, gefolgt von
einer wunderschönen
Trio-Melodie mit
rhythmischen und
schwungvollen
Abschnitten. In diesem
Marsch werden
verschiedene musikalische
Aspekte verwendet. Er
eignet sich bestens als
Eröffnungsstück
oder um während eines
Konzertes für
Abwechslung zu
sorgen.
Cette
élégante marche de
concert est une commande
du Musikverein Heek en
Allemagne Allemagne
l’occasion de son
125e anniversaire. Dans
la mythologie allemande,
Donar est le dieu
du tonnerre, et dans la
région autour de Heek,
« la montagne du
tonnerre » est un nom
très connu.
L’œuvre
commence par une
ouverture imposante,
suivi d’une
magnifique mélodie en
trio aux passages
rythmiques et
énergiques. Cette
marche met en scène de
nombreux aspects musicaux
différents. Parfait
comme pièce
d’ouverture ou
pour créer plus de
variété dans votre
concert.
Questa
elegante marcia da
concerto è stata
commissionata dal
Musikverein di Heek in
Germania per il suo
125° anniversario.
Nella mitologia tedesca
Donar è il
Signore dei Tuoni e
nell’area intorno
ad Heek ‘Thunder
Mountain’ è un
nome familiare.
L’opera inizia con
un’introduzione
maestosa, seguita da un
bellissimo trio melodico
dalle sezioni ritmiche ed
energiche. Questa marcia
presenta una vasta gamma
di aspetti musicali ed
è perfetta come brano
d’apertura o per
creare variet
all’interno di un
concerto. $125.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Pegasus (Wings of Majesty) Orchestre [Conducteur et Parties séparées] - Facile Hal Leonard
Composed by Michael Sweeney. MusicWorks Grade 2. Concert. Score and parts (with ...(+)
Composed by Michael
Sweeney. MusicWorks Grade
2. Concert. Score and
parts (with online
audio). Published by Hal
Leonard
(4)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Jaws of Fenris Orchestre d'harmonie [Conducteur] - Débutant Belwin
Concert Band - Grade 1 SKU: AP.44891S Composed by Roland Barrett. Concert...(+)
Concert Band - Grade 1
SKU: AP.44891S
Composed by Roland
Barrett. Concert Band;
Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Form: Overture. Score. 16
pages. Duration 1:45.
Belwin Music #00-44891S.
Published by Belwin Music
(AP.44891S). UPC:
038081516103.
English. As the
title implies, this
stunning overture opens
with an ominous initial
statement and erupts to a
driving musical force to
the end. Inspired by an
Antarctic mountain, the
story is based on the
Norse mythology story
about a monstrous wolf.
Engaging and charismatic,
this composition sounds
more difficult than it
plays and will serve
equally well on concerts
or contest programs.
(1:45). $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Nine Muses - Impressions Hautbois [Conducteur] - Intermédiaire/avancé Clifton Edition
Oboe or Cor Anglais - Grade 6-8 SKU: ST.C467 Composed by Ayser Vancin. Wi...(+)
Oboe or Cor Anglais -
Grade 6-8 SKU:
ST.C467 Composed by
Ayser Vancin. Wind and
brass music. Score.
Clifton Edition #C467.
Published by Clifton
Edition (ST.C467).
ISBN
9790570814671. I
was inspired to create
this work after attending
a Greek mythology seminar
at the University of
Geneva: a collection of
solo oboe or English horn
pieces, allowing a
certain freedom of
improvisation to the
performer. The muses are
often shown in Ancient
Greek art, holding
musical instruments or
other associated
objects.
The Nine
Muses came to life
initially in 2006, thanks
to Phylloscopus
Publications and K. R.
Malloch.
â??
Ayser Vançin. $12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| LAR II Orgue [Conducteur] Breitkopf & Härtel
Organ SKU: BR.EB-9345 For Organ. Composed by Sanchez-Verdu. Solo i...(+)
Organ SKU:
BR.EB-9345 For
Organ. Composed by
Sanchez-Verdu. Solo
instruments; stapled.
Edition Breitkopf.
World premiere:
Berlin, Januar 20, 2019
(Compulsory piece for the
Prizewinner Concert
of the Felix Mendelssohn
Bartholdy Conservatory
Competition, Berlin
2019)Commissioned by the
Felix Mendelssohn
Bartholdy Conservatory
Competition 2019ISBN 9790004188095. 12
x 9 inches. Lar in
Roman mythology refers to
the so-called Lares, gods
of households, fields and
pathways, deified souls
of the deceased and
tutelary deities,
especially of the house
and its inhabitants. Lar
is also the fireplace in
a house - and thus a
place where you feel
protected. Lar II is part
of a cycle. Each piece
focusses on a kind of
movement or transition
between the interior (the
house) and the unknown
(the outside, the
adventure). Gilles
Deleuze speaks of
deterritorialization; it
is precisely this process
that is also used in
music as a metaphor. For
Deleuze, a melody can act
as a ritornello, for
example, representing the
house, the acquainted.
Lar II plays with
ritornellos which are
developed alternatingly -
like breathing- with
certain movements to the
outside and back again.
Musically, the instrument
organ opens/introduces as
a topos something within
a space and focusses on
the concept of space as
the central point of a
continuous musical
transition. (Jose M.
Sanchez-Verdu,
2018)
World
premiere: Berlin, Januar
20, 2019 (Compulsory
piece for the Prizewinner
Concert of the Felix
Mendelssohn Bartholdy
Conservatory Competition,
Berlin 2019) Commissioned
by the Felix Mendelssohn
Bartholdy Conservatory
Competition 2019. $41.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Vista Piano seul Oxford University Press
Solo piano (Solo) SKU: OU.9780193735286 Composed by Anthony Powers. Piano...(+)
Solo piano (Solo) SKU:
OU.9780193735286
Composed by Anthony
Powers. Piano (Solo). 24
pages. Duration 12'.
Oxford University Press
#9780193735286. Published
by Oxford University
Press (OU.9780193735286).
ISBN 9780193735286. 12
x 8 inches. For
solo piano Vista is the
first in a planned
sequence of pieces, all
to include piano. The
sequence will form a
musical reflection or
interpretation of aspects
of Italian renaissance
and baroque gardens,
typically derived from
mythology as filtered
through Ovid in his
Metamorphoses. $18.99 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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