| One Final Effort (from Halo 3)
Piano, Voix et Guitare [Feuillet] Alfred Publishing
For Piano. This edition: Piano/Vocal/Chords. Sheet. Original Sheet Music Edition...(+)
For Piano. This edition:
Piano/Vocal/Chords.
Sheet. Original Sheet
Music Edition. Video
Game. Sheet. 8 pages.
Published by Alfred
Publishing.
(6)$3.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Stylistic Etudes for Trombone Carl Fischer
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone
SKU: CF.WF231
20 Original Etudes in
a Variety of Styles.
Composed by Tom Brantley.
Collection - Performance.
With Standard notation.
48 pages. Carl Fischer
Music #WF231. Published
by Carl Fischer Music
(CF.WF231). ISBN
9781491153314. UPC:
680160910816. Styli
stic Etudes for Trombone
was written for
intermediateto advanced
level trombonists,
seeking to meet
thedemands of the modern
marketplace for
performers. AsI often
tell my students,
it’s simply not
enough to mastera single
style and fake the rest.
To make a living as
aperformer, trombonists
are expected to play
many, manydifferent
styles authentically.
Classical performers
studyhard and devote
themselves to mastering
the stylisticnuances of
various eras, various
composers, variousforms;
jazz musicians seek to
accurately reflect the
stylesof everything from
bar-room burlesque to
Coltrane; hornbands in
the funk, rock, ska and
hip-hop idioms
mustreflect attention to
the details of their
influences even asthey
create new paths through
popular music.This etude
collection is an attempt
to help studentsand their
teachers work on the
details associated
withmastering each of
these various styles.In
order to perform with the
correct feel,
articulationand sound,
trombonists must first
get these concepts
intheir head through
diligent listening and
then disciplinedpractice
playing in every single
style. The same
wayorchestral players
study the symphonic
literature andexcerpts,
or the way a professional
jazz musician mightwork
on chord changes in
excruciating detail, a
wellroundedtrombone
player must master styles
by listeningto and
playing with great
recordings. Most of the
etudesin this book are
based on styles from
specific
orchestralliterature,
jazz standards and other
styles such as
NewOrleans’ funk
music (Meters) or the
music of JamesBrown and
Tower of Power.One final
note: some of these are
hard. On purpose.
Theseare not warm-ups
that you can play through
mindlesslyto get your
face going. These are
“study
pieces†in the
oldfashionedsense. They
are designed to challenge
you asa player, to make
you a little
uncomfortable. Some
aretougher than others,
of course, but none of
them are easy.If you can
play through each of
these well, with
greatmusicianship and
impeccable technique, you
will be anincredibly
versatile instrumentalist
and be able to
secureperformance
opportunities that are
outside the comfortzone
of many
trombonists.Thanks for
buying this book. I hope
you enjoy workingthrough
these, whether
you’re a teacher,
student,performer, or
weekend warrior. I
learned a lot by
puttingthese together and
I hope you find them
useful and
helpful. Stylistic
Etudes for Trombone was
written for intermediate
to advanced level
trombonists, seeking to
meet the demands of the
modern marketplace for
performers. As I often
tell my students,
it’s simply not
enough to master a single
style and fake the rest.
To make a living as a
performer, trombonists
are expected to play
many, many different
styles authentically.
Classical performers
study hard and devote
themselves to mastering
the stylistic nuances of
various eras, various
composers, various forms;
jazz musicians seek to
accurately reflect the
styles of everything from
bar-room burlesque to
Coltrane; horn bands in
the funk, rock, ska and
hip-hop idioms must
reflect attention to the
details of their
influences even as they
create new paths through
popular music.This etude
collection is an attempt
to help students and
their teachers work on
the details associated
with mastering each of
these various styles.In
order to perform with the
correct feel,
articulation and sound,
trombonists must first
get these concepts in
their head through
diligent listening and
then disciplined practice
playing in every single
style. The same way
orchestral players study
the symphonic literature
and excerpts, or the way
a professional jazz
musician might work on
chord changes in
excruciating detail, a
well-rounded trombone
player must master styles
by listening to and
playing with great
recordings. Most of the
etudes in this book are
based on styles from
specific orchestral
literature, jazz
standards and other
styles such as New
Orleans’ funk
music (Meters) or the
music of James Brown and
Tower of Power.How these
etudes were conceived,
composed and transcribed:
The style or concept of
the etude was thought out
in my head and ear. I
then improvised in that
style and concept on my
trombone, recording my
efforts until I was
satisfied with the etude.
All along, my goal was to
play the range of the
instrument while
emphasizing certain
articulations, rhythms,
range and, fundamentally,
the intended style of the
etude. The resulting
etude was then
transcribed by a terrific
graduate student named
Zach Bornheimer, who also
works with many other
classical and jazz
composers as a
copyist/arranger.Tips for
working on the etudes:
Seek out professional
recordings that match the
style of each etude to
get a good idea of what
the etude should sound
like musically. My
recording of each of
these etudes is available
for download and can be
purchased online for a
modest fee. Search for
“Brantley
Etudes†at either
iTunes or CDBaby.
Practice each etude very
slowly and in segments as
needed, using a
metronome. Record
yourself and listen for
good technique,
musicianship and
authenticity of style
with your sound, feel and
articulations. Compare
your own efforts to the
sounds you’ve
heard on recordings.
Would you fit in that
ensemble or band? If
range is an issue, take
certain notes or passages
down or up an octave.
Work on your fundamentals
every day, including the
techniques and skills
needed for these etudes.
Be patient! Small
improvements every day
result in big success
over time. Always play
with a wide dynamic
range. Always play with
line and direction.
Always play with
impeccable time as well
as rhythm. Use a
metronome to help with
this. Always play in
tune. You can work on
this with a tuner as well
as with drones. Play
these for teachers,
friends, peers and
colleagues not only for
their feedback but also
for the experience of
informal performance. An
audience changes
everything. Make music,
listen to music, record
yourself, play in public
and have fun!One final
note: some of these are
hard. On purpose. These
are not warm-ups that you
can play through
mindlessly to get your
face going. These are
“study
pieces†in the
old-fashioned sense. They
are designed to challenge
you as a player, to make
you a little
uncomfortable. Some are
tougher than others, of
course, but none of them
are easy. If you can play
through each of these
well, with great
musicianship and
impeccable technique, you
will be an incredibly
versatile instrumentalist
and be able to secure
performance opportunities
that are outside the
comfort zone of many
trombonists.Thanks for
buying this book. I hope
you enjoy working through
these, whether
you’re a teacher,
student, performer, or
weekend warrior. I
learned a lot by putting
these together and I hope
you find them useful and
helpful.Best
wishes,—Tom
Brantley. $18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Final Voyage Orchestre d'harmonie - Facile Alfred Publishing
Concert Band - Grade 3 SKU: AP.20697 Composed by Robert Sheldon. Concert ...(+)
Concert Band - Grade 3
SKU: AP.20697
Composed by Robert
Sheldon. Concert Band;
Performance Music
Ensemble; Single Titles.
Alfred Concert Band.
Programmatic. Score and
Part(s). 2 pages. Alfred
Music #00-20697.
Published by Alfred Music
(AP.20697). ISBN
9781470650872. UPC:
038081205939.
English. One of the
most terrible shipping
disasters of the
nineteenth century
occurred off the shores
of Lake Michigan when the
lumber ship Augusta
rammed the luxury liner
Lady Elgin during a
September squall in the
middle of the night.
Although hundreds
perished in this event,
many acts of heroism took
place during the
treacherous rescue
effort. This exciting and
stirring composition is a
memorial to those
heroes. $80.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| To You Who Bow Chorale 3 parties SAB, Piano [Octavo] GIA Publications
Composed by Rory Cooney. For SAB choir, assembly, keyboard accompaniment, cello,...(+)
Composed by Rory Cooney.
For SAB choir, assembly,
keyboard accompaniment,
cello, flute, trumpet.
Celebration Series.
Sacred. Easy. Octavo.
Guitar chord names. 8
pages. Published by GIA
Publications
$2.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Overture Romantique Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Claude T. Smith Publications
Grade 5 SKU: CL.CTS-7715-00 Composed by Claude T. Smith. Concert Band. Sc...(+)
Grade 5 SKU:
CL.CTS-7715-00
Composed by Claude T.
Smith. Concert Band.
Score and set of parts.
Composed 1971. Claude T.
Smith Publications
#CTS-7715-00. Published
by Claude T. Smith
Publications
(CL.CTS-7715-00).
Overture
Romantique begins with a
pounding ostinato of low
brass and timpani, which
then accompanies a short,
dramatic introduction of
the thematic material,
which then lends itself
to an Adagio. The Allegro
propels the band into a
rousing section of
woodwind runs, multiple
meter changes and a
transitional fanfare. The
center section of the
piece features an
ostinato in 3/2, with
alternating sections in
4/2 and 5/2. An
appearance by the
transitional fanfare is
played, and music
previously stated
returns. One final
hearing of the first
theme, which leads to a
marvelous Eb major chord,
features the ostinato and
the trombones stating the
opening music one more
time. One of
Smith’s first
virtuoso efforts for the
concert band. $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Overture Romantique Orchestre d'harmonie [Conducteur] - Intermédiaire Claude T. Smith Publications
Grade 5 SKU: CL.CTS-7715-01 Composed by Claude T. Smith. Concert Band. Ex...(+)
Grade 5 SKU:
CL.CTS-7715-01
Composed by Claude T.
Smith. Concert Band.
Extra full score.
Composed 1971. Claude T.
Smith Publications
#CTS-7715-01. Published
by Claude T. Smith
Publications
(CL.CTS-7715-01).
Overture
Romantique begins with a
pounding ostinato of low
brass and timpani, which
then accompanies a short,
dramatic introduction of
the thematic material,
which then lends itself
to an Adagio. The Allegro
propels the band into a
rousing section of
woodwind runs, multiple
meter changes and a
transitional fanfare. The
center section of the
piece features an
ostinato in 3/2, with
alternating sections in
4/2 and 5/2. An
appearance by the
transitional fanfare is
played, and music
previously stated
returns. One final
hearing of the first
theme, which leads to a
marvelous Eb major chord,
features the ostinato and
the trombones stating the
opening music one more
time. One of
Smith’s first
virtuoso efforts for the
concert band. $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Partita No. 2 Piccolo [Conducteur] Theodore Presser Co.
Chamber Music Piccolo SKU: PR.114422450 Composed by Johann Sebastian Bach...(+)
Chamber Music Piccolo
SKU: PR.114422450
Composed by Johann
Sebastian Bach. Arranged
by Nicola Mazzanti. Sws.
Full score. 20 pages.
Duration 17 minutes.
Theodore Presser Company
#114-42245. Published by
Theodore Presser Company
(PR.114422450). ISBN
9781491134986. UPC:
680160685974. 9 x 12
inches. Bachâs
colossal Partita No. 2
for Solo Violin has been
crowned by many masters
as one of musicâs
greatest achievements,
and even its famous
Chaconne movement alone
is a mountain many
performers dare not
scale. While the
literature of several
other instruments has
been enriched by
transcriptions of the
Chaconne, Mazzantiâs
heroic adaptation of the
complete Partita is the
culmination of many
yearsâ work, and the
only transcription
specifically for the
piccoloâs unique
range. THE
INSPIRATIONEver since my
childhood, Johann
Sebastian Bachâs
solo violin music (like
his works for solo cello)
has always held a charm
and mystery for me.
Thereâs something
about this repertoire
that sparks an
inextinguishable
questioning in my musical
and human soul.It is
music without spatial
limits or temporal cages,
a music as essential as
it is masterfully
complex, in which the
solitary voice of man
meets the
all-encompassing voice of
God. It is a music whose
vertical and horizontal
dimensions, already
admirably fused, are
faceted into new and
mysterious realities. For
every violinist, the
study of these
compositions is at the
apex of tenacious
technical study and
interpretative
effort.Violinist Joshua
Bell has said the
Ciaccona (Bach did write
the Partitaâs
movement titles in
Italian) is ânot
just one of the greatest
pieces of music ever
written, but one of the
greatest achievements of
any man in history.
Itâs a spiritually
powerful piece,
emotionally powerful,
structurally
perfect.âTranscribin
g and performing
Bachâs PARTITA NO.
2, BWV 1004 on piccolo
was a feat that took
years of work. The famous
Ciaccona movement is, of
course, the piece that
alone occupied most of
this time. How does one
honor and elevate such
high music with such a
âsmallâ
instrument, devoid of the
enormous expressive
potential of the violin,
devoid of its chords and
its polyphony? How might
I transform the piccolo
into an instrument with,
like the violin,
full-bodied low notes and
subtle high notes? Above
all, why undertake such a
demanding and
extraordinary journey?The
first reason is obvious:
by transcribing,
studying, and performing
such an admirable piece,
we assimilate it, it
becomes part of us, it
enormously enriches our
musical interior.In
addition, it forces us
technically to expand the
colors, agility, and
flexibility of the
instrument; it makes us
think in a polyphonic
way.Finally, the daily
study, especially of the
Ciaccona, is an
extraordinary gymnasium
in which to consolidate
and strengthen our
general technique.THE
TRANSCRIPTIONThe whole
Partita was transcribed
in the key of A minor, a
fifth above the original
in D minor. This was
necessary for the lowest
note of the violin (G) to
correspond to the lowest
note of the piccolo (D).
This version exploits the
full range of the
piccolo, from the D of
the first octave to the B
of the third octave.
However some octave
adjustments were
needed.The chords,
particularly in the
Sarabanda and the
Ciaccona, have been left
with the same notational
system used by Bach in
his version for violin. I
chose to respect
Bachâs presentation
and did not transcribe
these into grace notes
breaking the chords. I
advocate that we must at
least try to think of
this music in its
vertical dimension,
trying to make the notes
resonate as if they were
being played together,
deciding the speed of the
arpeggio based on musical
needs.While some woodwind
editions of Bachâs
string solos do indicate
broken chords as grace
notes, this implies that
the most important note
is necessarily the
highest one, while
sometimes it is precisely
in the lower pitches that
the theme is voiced.In
this piccolo adaptation,
many of Bachâs
original articulations
have been respected. Some
have been changed, when
needing to adapt them to
the specific needs of
flute playing.The two
passages in the Ciaccona
where Bach indicates
âarpeggioâ were
rendered trying to
respect the most
consolidated and virtuous
violin traditions, and at
the same time the
possibilities that the
piccolo offers us. For
this purpose, in some
cases, different
revoicings of the chords
have been used.I thank
all those who patiently
listened to me and were
close to me during this
period, for their
observations and advice.
In particular, I thank my
daughter Sara for her
assistance and skill in
entering this edition
into music writing
software. $18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rehearsing the High School Orchestra GIA Publications
SKU: GI.G-10494 Composed by Sandy Goldie. Music Education. 104 pages. GIA...(+)
SKU: GI.G-10494
Composed by Sandy Goldie.
Music Education. 104
pages. GIA Publications
#10494. Published by GIA
Publications
(GI.G-10494). ISBN
9781574635195. This
book contains collective
insights from some of the
most inspirational high
school orchestra
directors in the United
States. They reveal their
ideas on rehearsal
philosophy, rehearsal
preparation, warm-up
strategies, favorite
repertoire, tone/bow
control, intonation,
articulation, expression,
online instruction,
recruiting and building
community. Each of their
stories is as unique as
the individual strategies
and approaches they
share. You will surely be
inspired by their ideas,
approaches, and
strategies presented in
Rehearsing the High
School Orchestra. I know
the most joy in my life
has come from my violin.
(Albert Einstein)
—Gail Barnes,
University of South
Carolina, Columbia, South
Carolina Success is not
final, failure is not
fatal, it is the courage
to continue that counts.
(Winston Churchill)
—David Eccles, The
Lovett School, Atlanta,
Georgia I want every
student who comes through
my door to enjoy and see
the value of music.
—Creston Herron,
Klein High School, Klein,
Texas Without music, life
would be a mistake.
(Friedrich Nietzsche)
—Cathie Hudnall,
Norcross High School,
Norcross, Georgia To make
a resolution and act
accordingly is to live
with hope. There may be
difficulties and
hardships, but not
disappointment or despair
if you follow the path
steadily. Do not rest in
your efforts, without
stopping, without haste,
carefully taking a step
at a time forward will
surely get you there.
(Shinichi Suzuki)
—Scott Laird,
North Carolina School of
Science and Mathematics,
Durham, North Carolina
Orchestra class teaches
so much more than how to
play a stringed
instrument. We learn
valuable life skills in
‘O.R.C.H.E.S.T.R.A
€™â€”Opportunit
y, Responsibility,
Concentration, Honesty,
Effort, Self-Discipline,
Trust, Respect, and
Attitude. —Charles
Laux, Alpharetta High
School, Alpharetta,
Georgia I teach
excellence and the
commitment it takes to be
excellent. Music is the
discipline that I use to
teach this. While music
is a beautiful artform,
the subject matter is
never more important than
the subject itself.
—Kirt Mosier,
Youth Symphony of Kansas
City, Kansas City,
Missouri You are the
music while the music
lasts. (T. S. Eliot)
—Kirk Moss,
University of
Northwestern—St.
Paul, Roseville,
Minnesota The job of
teaching is less about
feeding information to
students, and more about
making them hungry.
—Christopher
Selby, School of the
Arts, Charleston, South
Carolina High achievement
always takes place within
the framework of high
expectations. (Charles
Kettering) —Laura
Mulligan Thomas,
Charlottesville High
School, Charlottesville,
Virginia. $19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lebuïnus ex Daventria Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1115061-140 Composed by Peter...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-1115061-140
Composed by Peter Kleine
Schaars. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2011. 48
pages. De Haske
Publications #DHP
1115061-140. Published by
De Haske Publications
(BT.DHP-1115061-140).
9x12 inches.
English-German-French-Dut
ch. Much like a
film score, Peter Kleine
Schaars’
composition paints
colourful images while
telling the story of the
Anglo-Saxon monk, Lebu
nus. In around 768 AD,
Lebu nus founded a
mission in the Dutch
province of Deventer in
an effort to convert the
Pagan Saxons. Contrasting
themes describe the
Ijssel Valley, the Saxons
and Lebu nus,
construction on the
church and its subsequent
destruction in a clash
with the Saxons. The
Ijssel-Valley-theme
returns one more time in
a minor key before each
of the themes come
together again for one
rousing finale. Let
battle
commence!
Deze
filmmuziekachtige
compositie vertelt de
geschiedenis van de
Angelsaksische monnik
Lebu nus. Rond het jaar
768 stichtte hij in
Deventer een kerk met het
doel de heidense
Saksische bevolking te
bekeren. Op elkaar
volgende
contrastrijkethemaâ€
s geven een muzikale
verbeelding van het
IJsseldal, de Saksen en
Lebu nus, de bouw van de
kerk en de verwoesting
ervan in de strijd tegen
de Saksen. Nog één
keer weerklinkt het
‘IJsseldalthemaâ
™ in mineur totdat in
eenstralende finale alle
thema’s
samenkomen.
Indrukwekkend!
Die
se filmmusikähnliche
Komposition erzählt
die Geschichte des
angelsächsischen
Mönchs Lebu nus, der
um das Jahr 768 im Zuge
der Missionierung der
heidnischen Sachsen eine
Kirche im
niederländischen
Deventer errichtete.
Aufeinander folgende,
kontrastive Themen
beschreiben das
Ijssel-Tal, die Sachsen
und Lebu nus, den
Kirchenbau und die
Zerstörung im Kampf
gegen die Sachsen. Es
erklingt noch einmal das
Ijssel-Tal-Thema in Moll,
bevor im schillernden
Finale alle Themen
zusammenkommen.
Pl
usieurs lignes musicales
se confondent dans cette
composition, évoquant
tour tour la vallée de
l’Ijssel, la ville
néerlandaise de
Daventria (mot latin de
Daventer) ainsi que la
vie du moine anglosaxon
Lebu nus, qui en 768,
décida de construire
une église pour les
saxons restés pa ens.
Le dernier tableau
réunit les
différents thèmes,
nous révélant que
la cohabitation est
parfois laborieuse mais
toujours enrichissante.
Un finale pétillant
haut en
couleurs.
Questa
composizione, scritta
nello stile della musica
da film, racconta la
storia del monaco Lebu
nus che nell’anno
768 quando era incaricato
di convertire al
cristianesimo i sassoni
restati pagani, si
occupò anche della
costruzione di una chiesa
a Daventer (Paesi Bassi).
Temi contrastanti che si
susseguono descrivono la
valle di Iissel, i
sassoni e il monaco Lebu
nus. Il compositore
traduce in musica la
costruzione della chiesa
e la sua completa
distruzione ad opera dei
sassoni nel corso di una
battaglia. Il motivo
della valle di Ijssel
è ripreso ancora in
una tonalit minore, prima
che tutti i temi
accompagnino il brano al
suo scintillante
finale. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Lebuïnus ex Daventria Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1115061-010 Composed by Peter...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-1115061-010
Composed by Peter Kleine
Schaars. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2011.
De Haske Publications
#DHP 1115061-010.
Published by De Haske
Publications
(BT.DHP-1115061-010).
9x12 inches.
English-German-French-Dut
ch. Much like a
film score, Peter Kleine
Schaars’
composition paints
colourful images while
telling the story of the
Anglo-Saxon monk, Lebu
nus. In around 768 AD,
Lebu nus founded a
mission in the Dutch
province of Deventer in
an effort to convert the
Pagan Saxons. Contrasting
themes describe the
Ijssel Valley, the Saxons
and Lebu nus,
construction on the
church and its subsequent
destruction in a clash
with the Saxons. The
Ijssel-Valley-theme
returns one more time in
a minor key before each
of the themes come
together again for one
rousing finale. Let
battle
commence!
Deze
filmmuziekachtige
compositie vertelt de
geschiedenis van de
Angelsaksische monnik
Lebu nus. Rond het jaar
768 stichtte hij in
Deventer een kerk met het
doel de heidense
Saksische bevolking te
bekeren. Op elkaar
volgende
contrastrijkethemaâ€
s geven een muzikale
verbeelding van het
IJsseldal, de Saksen en
Lebu nus, de bouw van de
kerk en de verwoesting
ervan in de strijd tegen
de Saksen. Nog één
keer weerklinkt het
‘IJsseldalthemaâ
™ in mineur totdat in
eenstralende finale alle
thema’s
samenkomen.
Indrukwekkend!
Die
se filmmusikähnliche
Komposition erzählt
die Geschichte des
angelsächsischen
Mönchs Lebu nus, der
um das Jahr 768 im Zuge
der Missionierung der
heidnischen Sachsen eine
Kirche im
niederländischen
Deventer errichtete.
Aufeinander folgende,
kontrastive Themen
beschreiben das
Ijssel-Tal, die Sachsen
und Lebu nus, den
Kirchenbau und die
Zerstörung im Kampf
gegen die Sachsen. Es
erklingt noch einmal das
Ijssel-Tal-Thema in Moll,
bevor im schillernden
Finale alle Themen
zusammenkommen.
Pl
usieurs lignes musicales
se confondent dans cette
composition, évoquant
tour tour la vallée de
l’Ijssel, la ville
néerlandaise de
Daventria (mot latin de
Daventer) ainsi que la
vie du moine anglosaxon
Lebu nus, qui en 768,
décida de construire
une église pour les
saxons restés pa ens.
Le dernier tableau
réunit les
différents thèmes,
nous révélant que
la cohabitation est
parfois laborieuse mais
toujours enrichissante.
Un finale pétillant
haut en
couleurs.
Questa
composizione, scritta
nello stile della musica
da film, racconta la
storia del monaco Lebu
nus che nell’anno
768 quando era incaricato
di convertire al
cristianesimo i sassoni
restati pagani, si
occupò anche della
costruzione di una chiesa
a Daventer (Paesi Bassi).
Temi contrastanti che si
susseguono descrivono la
valle di Iissel, i
sassoni e il monaco Lebu
nus. Il compositore
traduce in musica la
costruzione della chiesa
e la sua completa
distruzione ad opera dei
sassoni nel corso di una
battaglia. Il motivo
della valle di Ijssel
è ripreso ancora in
una tonalit minore, prima
che tutti i temi
accompagnino il brano al
suo scintillante
finale. $236.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Immersion Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Composed by Alex Shapiro (1962-). Activist Music. Concert. Softcover. Publishe...(+)
Composed by Alex Shapiro
(1962-). Activist Music.
Concert. Softcover.
Published
by Hal Leonard
$350.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Prayer of Gethsemane Cloches Shawnee Press
Handbells SKU: HL.35017366 3-5 Octaves of Handbells Level 2. Compo...(+)
Handbells SKU:
HL.35017366 3-5
Octaves of Handbells
Level 2. Composed by
W. Gross. Shawnee Press.
Easter, General Worship,
Hymn, Lent, Sacred. 8
pages. Shawnee Press
#HP5410. Published by
Shawnee Press
(HL.35017366). UPC:
747510056683.
8.5x11.0x0.024
inches. An optional
three, full octaves of
handchimes are
intermingled with the
bells in this original
work inspired by Christ's
prayer in Gethsemane. The
chimes are optional, but
extra effort should be
made to include them, as
they add so much to the
contemplative nature of
the work. The gamut of
Christ's emotions is
portrayed through quiet,
building, and strong
passages. Finally, in the
last ten measures, one
can almost hear Jesus
say, Thy will be done. 81
measures. $4.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Day Time Impressions Piano seul - Intermédiaire Forsyth Publications
Piano Solo - Easy-Intermediate SKU: FP.FBS03 Composed by Sarah Baker. She...(+)
Piano Solo -
Easy-Intermediate SKU:
FP.FBS03 Composed by
Sarah Baker. Sheet Music
and Books. Nine pieces
on a day time theme
for solo piano, by Sarah
Baker. Suggested grade
4-5. Classical.
Collection. Forsyths
Publications #FBS03.
Published by Forsyths
Publications (FP.FBS03).
ISBN
9790570500192. Sara
h Baker is Vocal Composer
in Residence at Education
Music Services, an ABRSM
examiner and a well known
composer of songs and
musicals for primary
schools and massed-choral
events.
All this
experience has come
together in the creation
of this album of piano
pieces, inspired by
growing up in the
Chiltern Hills. Suitable
for players of around
grade 4-5 standard, her
evocative sound pieces
describe a crash-landing
hot air balloon, garden
invading cows and a even
a snake in a
pond!
Air
Balloon!: One vivid
memory I have as a child
is of the day that a hot
air balloon passed over
our house and made an
emergency landing on the
road in front! The sound
of the gas being blown
into the balloon to try
to keep it high enough to
pass the house sounded so
loud and intimidating,
and then there was the
bustle of the neighbours
as we all went out into
the street to watch. It
was both terrifying and
exhilarating to watch the
balloon float past and
then land so near
by.
Buzzards
Circling: There is
something so calming and
restful about watching
birds of prey circling in
the thermal currents of a
summer sky. Growing up in
the Chilterns gave me
plenty of opportunity to
watch buzzards and red
kites. This piano solo
captures the beauty of
their flight as they
glide so effortlessly
through the
air.
There’
s A Cow In The Garden
Eating The Flowers:
Inspired by the memory of
seeing an unexpected cow
in the garden! This
surreal image is captured
in a quirky waltz, as I
portray both the
absurdity of the moment
and the sense of wonder I
felt as a child, looking
out of the window and
seeing the cow walking
round and eating the
flowers. The final phrase
articulates my longing:
‘I wish it would
come
again’.
Wat
ching The World Go By: A
short, reflective piece,
remembering what it was
like to have time to just
sit and watch the world
go by from my bedroom
window.
Autumn
Skies: A miniature about
the beauty of Autumn
skies and the poignant
sense of loss for a
summer gone. Friends I
was fortunate to have
several children of my
own age living close by.
We seemed to be forever
making dens, playing out
in the street and
generally enjoying each
other’s company.
This piece reflects that
sense of
well-being.
Snake
In The Pond: One hot
summer I was astonished
and scared to see a grass
snake cooling off in our
garden pond! I watched,
both horrified and
fascinated, as it rose up
from the depths and then
disappeared again. Here I
portray the sense of the
hazy summer afternoon as
I peacefully watched the
tiny movements of fish in
the pond, contrasted with
the fear and excitement
of seeing the snake
appear.
Morning
Commute: I recollect many
mornings stuck in traffic
as my Dad took me to
school on his way to
work. There is one main
road out of the village
where I grew up, and that
got more and more
congested the closer we
got to the town. We may
not have chatted a lot,
but it was always good to
be together with my Dad,
lost in our own
thoughts.
The
Witch’s Cottage:
My siblings and I had a
fascination with a small
cottage nearby. It was
set back from the road in
a dark part of the woods
and we called it 'the
witch's cottage’.
Every time we passed, I
imagined I heard the
distant cackle of the
witch and wished I could
catch a glimpse of
her.
These pieces
are written to complement
my other collection,
Night Time Impressions,
which also draw on
childhood recollections,
particularly of the woods
behind the house where I
grew up. - Sarah Baker
2023. $12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Diary of A Journey Theodore Presser Co.
Chamber Music Bassoon, Flute, Violoncello SKU: PR.114408750 Composed by S...(+)
Chamber Music Bassoon,
Flute, Violoncello
SKU: PR.114408750
Composed by Samuel Adler.
Set of Score and Parts.
With Standard notation.
Composed 1995.
40+14+15+15 pages.
Duration 20 minutes.
Theodore Presser Company
#114-40875. Published by
Theodore Presser Company
(PR.114408750). UPC:
680160013289. 8.5 x 11
inches. This work
was commissioned by the
Friends of the Phoenix
Public Library for the
dedication of the new
Music Room and made
possible in part through
the funds from the
Arizona Commission on the
Arts, and Meet the
Composer-Arizona. Diary
of a Journey was composed
between July and
September 1995 for the
group Arpeggio. During
the early summer of 1995,
my wife and I took a
vacation to Prague and
Budapest. It was the
first trip for both of us
to these former Iron
Curtain capitals. The
train ride through the
beautiful country-side,
the dilapidated small
villages and towns, the
magnificent architecture
and the feeling of
grandeur in the two major
cities left an indelible
impression on me. I
longed to write some kind
of an essay about it.
Diary of a Journey is the
result of some of these
thoughts, which were
sketched (musically) as
we visited each place.
There are four
'snapshots' or movements
which do not portray a
specific scene, but
rather try to capture the
impressions I gathered
from the people we
observed and met, and the
many awe-inspiring
experiences we had.
Throughout the journey, I
felt that people were
clinging to a tenacious
hope for a better future,
no matter how long it
will take to realize it.
In the first movement
each player portrays a
struggle against all
odds, and with great
energy and even wit tries
to overcome the
obstacles, ending on one
serene high note as a
resting point after all
the conflict. The second
'snapshot' tries to
capture the deep faith of
a newly regained
religiosity. It is
chant-like, and uses as
its basic melodic
material a famous Czech
hymn, penned by the great
religious reformer John
Huss. This movement is
played very freely,
without bar-lines and
with the hymn shining
through the fervent
chanting. The third
movement is a kind of
'demonic' scherzo. Fast
and furious, the three
instruments vie with one
another in a true
perpetual motion frenzy,
which is at times
relieved by short, more
pastoral melodic
fragments. A rather wild
ending should leave
everyone breathless.
Finally, in the fourth
'snapshot' the
instruments play a bit
more as a team, meaning
that is that there is
more melody with
accompaniment, and more
imitative music giving
the impression of a group
effort. The energy is
still at a high level but
long lyrical lines
abound, accompanied and
interrupted at times by
undulating fast notes
still depicting the
struggle against the
blight which any visitor
notices all around these
countries, yet also
showing the determination
of the people to conquer
adversity. --Samuel
Adler. $75.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Breakthrough GIA Publications
SKU: GI.G-9710 A Journey from Desperation to Hope. Composed by Rob...(+)
SKU: GI.G-9710
A Journey from
Desperation to Hope.
Composed by Rob Galea.
Sacred. 204 pages. GIA
Publications #9710.
Published by GIA
Publications (GI.G-9710).
ISBN 9781594718373.
Text by Rob
Galea. As a
teenager, Fr. Rob Galea's
reaction to those painful
feelings was addiction,
violence, and destructive
friendships. When the
recording artist and
former Australian X
Factor contestant finally
let God in, his life
completely changed. In
Breakthrough, Fr. Rob
shares his journey from
scared teenager to
passionate priest and
invites you to learn more
about the Catholic faith
so you, too, can find
hope in Christ.
Contemporary culture
compels approaches to
evangelization that are
new in ardor, method, and
expression. Fr. Rob
Galea's efforts to reach
young people with the
saving power of
the Gospel exemplify
all three, and in his new
book, he reveals
precisely where his zeal
for the mission
originates—in a
personal relationship
with Jesus Christ, who is
living, present, and
accessible to all people
in his Church.
—Most Rev. Robert
Barron, Auxiliary Bishop
of Los Angeles Fr. Rob
Galea's story reveals
what happens when God is
allowed to break through
our little, personal
worlds. It is the story
of a dynamic, young,
comitted Catholic priest,
singer, and performer,
and a testimony to the
Mighty One who continues
to do great things in the
lives of young women and
men today. —Rev.
Thomas Rosica, C.S.B.,
CEO of the Salt and Ligh
Catholic Media Foundation
Fr. Rob bears his heart
and soul in Breakthrough.
His vulnerability and
authenticity are
refreshing, his story is
encouraging, and his love
for the Lord is an
inspiration to anyone who
seeks Jesus and desires
to give thier life to
him. I enjoyed this book
and highly recommend it
to anyone, especially
young people who want to
love the Lord and know
where they fit and how
God can use them.
—Katie Prejean
McGrady, author of
Follow. $15.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Four Thousand Holes Chester
Score and Parts Percussion; Piano (Score & Parts) SKU: HL.234541 For P...(+)
Score and Parts
Percussion; Piano (Score
& Parts) SKU:
HL.234541 For
Piano and Percussion -
Score and Parts.
Composed by John Luther
Adams. Music Sales
America. Classical. Set.
Composed 2017. Duration
1950 seconds. Chester
Music #CH86273. Published
by Chester Music
(HL.234541).
9.25x12.0x0.571
inches.
English. 'Four
Thousand Holes is my own
effort to re-appropriate
and reclaim for myself
something of my own
musical past. For the
first time since my days
as a rocker, I've chosen
to restrict myself to
major and minor triads -
those most basic elements
of Western music (both
pop and classical). But
I've tried to assimilate
them fully into my own
musical world.
Approaching these simple
chords as found objects,
I've superimposed them in
multiple streams of
tempo, to create darker
harmonies and lush fields
of sound. In recent
years, I've been
fortunate enough to form
a close musical
partnership with Stephen
Drury. Steve's
extraordinary gifts
inspired me to explore
expansive forms and
textures (similar to
those of my orchestral
music) with only one or
two performers, In
essence, Four Thousand
Holes is a concerto. To
begin I composed the
score for the electronic
tracks. Steve recorded
all of the individual
chords that occur in the
score. I took these
recordings,
time-stretched them,
reversed their envelopes,
and knit the reversed
sounds together with
their original decays.
The resulting waves of
sound I layered into ten
independent tracks to
create the virtual
'orchestra'. Next I
composed the Piano part,
articulating the peaks of
all the electronic tracks
simultaneously - a feat
of coordination that
demands considerable
virtuosity from the
pianist. Finally I
composed another
multi-layered part for
metallic percussion
sounds that I think of as
sparks emanating from the
piano. In Four Thousand
Holes, strong musical
currents fall and rise,
again and again, as
points and lines are
juxtaposed with heavy,
hammered chords. The mix
of 'live' and electronic
sounds blurs the
distinction between
musical figure and
ground. As in much of my
recent music, I conceive
of the entire piece as a
single complex sonority
that evolves slowly. As
we settle into the sound,
we begin to hear longer
lines, counterpoint, and
maybe even the occasional
trace of a tune.' - John
Luther Adams. $45.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Empathie [Conducteur et Parties séparées] Forton Music
Woodwind quintet (Fl. Ob. Cl. Hn in F. Bsn.) - Intermediate-Advanced SKU: FT....(+)
Woodwind quintet (Fl. Ob.
Cl. Hn in F. Bsn.) -
Intermediate-Advanced
SKU: FT.FM620
Composed by Blair
Thomson. Wind Quintet.
Score and parts. Forton
Music #FM620. Published
by Forton Music
(FT.FM620). ISBN
9790570485192. To
empathize is to attempt
to understand the
feelings, thoughts, or
experiences of the
''other.'' It is part of
a “minimum
ethic.†The three
movements may be
considered
exemplifications of the
significant effort
required to do so. Why is
empathy important? It
seems to me we are living
during a time when face
to face human contact is
undervalued; hence a turn
towards the ominous.
''Cultural
disintegration'' is a
reflection of North
American indigenous
cultural change over
time. ''Generations X,Y,
Q'' takes its point of
departure from the
incredible speed with
which opinions of others
are made after clicking a
computer mouse. Finally,
''Love from the Obverse''
is a set of miniature
variations guided by
empathizing with someone
else's love for another.
Thus the movement, as
well as the entire piece,
is dedicated to
Sylvie-Anne. Empathie was
commissioned by
Pantaèdre with the
support of Conseil des
arts et des lettres du
Québec. Premiered by
Pentaèdre, 2 February,
2010, Tanna-Schulich
Hall, Montréal. $29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Highland Celebration Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS57 Composed by Alan L...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS57
Composed by Alan Lee
Silva. Carl Fischer Young
String Orchestra Series.
Score and Parts. With
Standard notation.
16+4+16+10+10+10+4+12
pages. Carl Fischer Music
#YAS57. Published by Carl
Fischer Music (CF.YAS57).
ISBN 9780825866890.
UPC: 798408066895. 8.5 X
11 inches. Key: G
major. This is a
sweeping new original
composition in a subto
Scottish style from
popular composer Alan Lee
Silva. Just another one
of the pieces that always
seem to flow effortlessly
from his talented pen.
This is an excellent
piece for any contest or
festival. This
Scottish-flavored,
uptempo piece in has a
lilting, jubilant-feel
throughout. Highland
Celebration is built
around two rhythmic
subdivisions: two groups
of three eighth notes per
measure and three groups
of two eighth notes per
measure. Have the
ensemble distinguish
between the two
subdivisions by tapping
each one separately. Make
an exercise of the rhythm
in mm. 1–2 in
Violin 1 to facilitate
playing the different
rhythms precisely: (1 2 3
- 4 5 6) and (1 2 - 3 4 -
5 6). Rehearsing four- to
eightmeasure sections
under tempo will aid in
tightening these rhythms
and solidifying pitch.The
sections to concentrate
on are: mm. 17–24
and mm. 33–40 to
make sure that Violins I
and II and Cello are
playing together; mm.
33–40, to focus on
the Violin 1 and Violin 2
unisons and couplings;
and mm. 57–62,
where the quarter-note
subdivisions are
emphasized. The piece is
book-ended with the
introduction material
which always begins
quietly and builds. The
ensemble at m. 79 starts
with tutti scalar figures
and increases in
intensity to the final
accented measures at m.
83. Written in AABA form
with a double bridge at
m. 45, the overall
feeling is dance-like and
festive.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Canadian Sketches Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-2274-01 Composed by Shaffer. Concert Band. Heritage o...(+)
Grade 3 SKU:
CL.012-2274-01
Composed by Shaffer.
Concert Band. Heritage of
the March Series. Audio
recording available
separately (item
CL.WFR328). Extra full
score. Composed 1990.
Duration 5 minutes, 57
seconds. Opus III Wind
Orchestra Publications
#012-2274-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-2274-01).
A Masterpiece
of form and design, this
exciting new composition
by the composer of
ARABESQUE and DEDICATA is
his best effort yet. The
opening interludes
between fanfare brass and
rubato woodwinds set the
tone for lush
contemporary harmonies
and beautiful flowing
melodies. A slower middle
section is followed by an
impressive finale. The
expressive writing of
this piece is unmatched
and is designed to show
off every section of your
ensemble. A contest and
festival winner!
About Heritage
of the
March Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Canadian Sketches Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-2274-00 Composed by Shaffer. Concert Band. Audio reco...(+)
Grade 3 SKU:
CL.012-2274-00
Composed by Shaffer.
Concert Band. Audio
recording available
separately (item
CL.WFR328). Score and set
of parts. Composed 1990.
Duration 5 minutes, 57
seconds. Opus III Wind
Orchestra Publications
#012-2274-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-2274-00).
A Masterpiece
of form and design, this
exciting new composition
by the composer of
ARABESQUE and DEDICATA is
his best effort yet. The
opening interludes
between fanfare brass and
rubato woodwinds set the
tone for lush
contemporary harmonies
and beautiful flowing
melodies. A slower middle
section is followed by an
impressive finale. The
expressive writing of
this piece is unmatched
and is designed to show
off every section of your
ensemble. A contest and
festival winner! $90.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Il Xerse (Venice 1655) Soli, choeur mixte et accompagnement Barenreiter
Dramma per musica. Composed by Francesco Cavalli (1602- 1676). Edited by Hend...(+)
Dramma per musica.
Composed
by Francesco Cavalli
(1602-
1676). Edited by Hendrik,
Sara Elisa / Schulze, and
Stangalino. This edition:
Edition of selected
works,
Urtext edition. Cloth
bound.
Francesco Cavalli. Opere.
Venice 1655. Edition of
Selected Works , Score.
Baerenreiter Verlag
#BA08915-
01. Published by
Baerenreiter
Verlag
$546.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Titty Twister Breitkopf & Härtel
Viola and 1 other inst. SKU: BR.EB-9205 Composed by Nicolaus A. Huber. So...(+)
Viola and 1 other inst.
SKU: BR.EB-9205
Composed by Nicolaus A.
Huber. Solo instruments;
Folder. Edition
Breitkopf. World
premiere: Donaueschingen,
April 25, 2010 Music
post-1945; New music
(post-2000). Performance
score. Composed 2009. 30
pages. Duration 14'.
Breitkopf and Haertel #EB
9205. Published by
Breitkopf and Haertel
(BR.EB-9205). ISBN
9790004183632. 11 x 14
inches. On the
broadcast of the film
From Dusk Till Dawn, the
following note could be
read in Gong (German
radio and television
programme guide) on 21
May: The gangsters Seth
(George Clooney) and
Richard Gecko (Quentin
Tarantino) are on the
run. On their way to
Mexico, they take the
apostate preacher Fuller
and his children hostage.
On their journey, they
end up in Titty Twister
Bar, not suspecting that
it is peopled by
vampires. Well, after
deducting some film junk,
some typical elements
remain: what is past and
over, constant new
dramatic pair
constellations, what is
dead and constantly
reawakening, the
transformations, the
troubles and
destructions, the final
annihilation teeming with
destruction etc.
Basically, it is a myth
of ruin, in whose
structure the elements
are interchangeable. It
could also be told with a
coherent material
concept, in a
historically obsolete
manner, in an
old-fashioned way, with
non-compensation, with
flaring abolition yes,
does everything always
work??? It is good that
it only takes place in a
bar and that the bar
invites us into Titty
Twister in attractive
neon writing. Restless
nature and beauty are at
home in the bar today.
That facilitates for us
the effortlessness of
having fun in life. And
today there is a special
programme my piece Titty
Twister for Accordion,
Viola, Nepalese Singing
Bowl, Pinballs and Mini
Dramolettes. Its all
expression, isnt it???
Nicolaus A. Huber (2009)
CD: Anton Hubert (viola),
Wolfgang Dimetrik
(accordeon) CD Gramola
98922 Bibliography :
Kampe , Gordon: Erinnern
und Vergessen.
Wechselwirkungen in der
Kammermusik Nicolaus A.
Hubers, in: Programmbuch
,,Wittener Tage fur neue
Kammermusik 2017, S.
42-47, auch abgedruckt
in: MusikTexte, Heft 154
(August 2017), pp.
37-39.
World
premiere: Donaueschingen,
April 25, 2010. $60.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Suite Nothings Ensemble de Clarinettes Potenza Music
Clarinet choir SKU: P2.30089 Composed by Arthur Gottschalk. Chamber music...(+)
Clarinet choir SKU:
P2.30089 Composed by
Arthur Gottschalk.
Chamber music, 20th
century. Published by
Potenza Music (P2.30089).
Composer Arthur
Gottschalk says, Suite
Nothings was commissioned
by Houston Symphony
clarinetist Richard
Nunemaker for his
Effortless Clarinet
Studio. It is dedicated
to Michael Perricone, a
talented amateur
clarinetists and member
of Nunemaker's studio,
who was diagnosed with
Stage 4 cancer just prior
to rehearsals for the
seventh annual studio
recital. Movement 1 ('The
March of the Licorice
Stick Figures') is a
strange little march, at
times duple and others
compound. Movement 2
('Weird Harold's Stomp')
is a touch more funky,
albeit in 13 beat
groupings, and owes a
partial debt and perhaps
apology to jazz legend
Herbie Hancock. The final
movement is an all-out
atonal yet swinging romp,
whose theme was
originally written for
the Band of the First
Battalion, Royal
Australian Regiment,
based in Townsville,
Queensland. These guys
march into battle with
full field packs, their
weapons, AND their
instruments! Hence the
title, 'The Royal
Australian Regiment
Rondo'.. $34.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem (Arman-Fassung) Carus Verlag
Violoncello/double bass part (Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2...(+)
Violoncello/double bass
part (Soli SATB, Coro
SATB, 2 Corni di
bassetto, 2 Fg, 2 Tr, 3
Trb, Timp, 2 Vl, Va, Bc)
SKU: CA.5165214
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. KV 626.
Duration 50 minutes.
Carus Verlag #5165214.
Published by Carus Verlag
(CA.5165214). ISBN
9790007313876. Key: D
minor. Latin. The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozart’s Requiem.
“Another
one?†you might
ask, since this
publication is only the
latest in a long line
reaching back to the
traditional Süßmayr
version. Yet such is the
enormous power of
Mozart’s score
that the challenge and
appeal of completing it
remain undiminished.
After two decades of
intensive study, Howard
Arman’s additions
to Mozart’s great
original show the
requisite care and
respect while
incorporating many new
insights.
Armanâ
™s approach is
particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozart’s brilliant
composing style: The
masterly compositional
technique, the search for
innovative solutions to
every problem, and even
the terse treatment of
the text with extremely
suggestive harmonies. All
of this leads to a number
of new listening
experiences. In the Tuba
mirum, for example, we
enjoy a warm, cohesive
ensemble sound, supported
by the bassoons, which
depart from the bass
line. The Confutatis
presents a quite
different picture: Even
the basset horns are
drawn down into the
infernal depths. This
effect is reinforced by
the independence of the
trombones; rather than
simply following the
choral parts, the
instrument’s
unique sound is given an
opportunity to shine.
Arman’s Lacrimosa
achieves a lively
Mozartian feel by
granting the voices
considerable freedom
rather than following a
rigid pattern. And he
concludes the movement
with a fugal Amen,
whereby the focus is not
so much on the
counterpoint itself, but
rather – in the
spirit of Mozart –
on creating a sense of
drama and illuminating
the theme in all its
possible facets.
Mozart’s fragment
ends with the Hostias,
and so does
Arman’s
completion.
For
the four following
movements (Sanctus to
Communio) we have nothing
from Mozart, and so here,
where the master is
silent, Arman finally
returns to Süßmayr,
the man who was closest
to Mozart at the time of
his death and whose
efforts to fill the blank
manuscripts still garner
our respect
today.
Armanâ€
s version has already
proven its practical
value. The premiere with
the Bavarian Radio Choir
was enthusiastically
received by audiences and
press alike – and
celebrated as offering a
scholarly, entirely fresh
perspective on
Mozart’s
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem (Arman-Fassung) Carus Verlag
2nd violin (Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, ...(+)
2nd violin (Soli SATB,
Coro SATB, 2 Corni di
bassetto, 2 Fg, 2 Tr, 3
Trb, Timp, 2 Vl, Va, Bc)
SKU: CA.5165212
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. KV 626.
Duration 50 minutes.
Carus Verlag #5165212.
Published by Carus Verlag
(CA.5165212). ISBN
9790007313852. Key: D
minor. Latin. The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozart’s Requiem.
“Another
one?†you might
ask, since this
publication is only the
latest in a long line
reaching back to the
traditional Süßmayr
version. Yet such is the
enormous power of
Mozart’s score
that the challenge and
appeal of completing it
remain undiminished.
After two decades of
intensive study, Howard
Arman’s additions
to Mozart’s great
original show the
requisite care and
respect while
incorporating many new
insights.
Armanâ
™s approach is
particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozart’s brilliant
composing style: The
masterly compositional
technique, the search for
innovative solutions to
every problem, and even
the terse treatment of
the text with extremely
suggestive harmonies. All
of this leads to a number
of new listening
experiences. In the Tuba
mirum, for example, we
enjoy a warm, cohesive
ensemble sound, supported
by the bassoons, which
depart from the bass
line. The Confutatis
presents a quite
different picture: Even
the basset horns are
drawn down into the
infernal depths. This
effect is reinforced by
the independence of the
trombones; rather than
simply following the
choral parts, the
instrument’s
unique sound is given an
opportunity to shine.
Arman’s Lacrimosa
achieves a lively
Mozartian feel by
granting the voices
considerable freedom
rather than following a
rigid pattern. And he
concludes the movement
with a fugal Amen,
whereby the focus is not
so much on the
counterpoint itself, but
rather – in the
spirit of Mozart –
on creating a sense of
drama and illuminating
the theme in all its
possible facets.
Mozart’s fragment
ends with the Hostias,
and so does
Arman’s
completion.
For
the four following
movements (Sanctus to
Communio) we have nothing
from Mozart, and so here,
where the master is
silent, Arman finally
returns to Süßmayr,
the man who was closest
to Mozart at the time of
his death and whose
efforts to fill the blank
manuscripts still garner
our respect
today.
Armanâ€
s version has already
proven its practical
value. The premiere with
the Bavarian Radio Choir
was enthusiastically
received by audiences and
press alike – and
celebrated as offering a
scholarly, entirely fresh
perspective on
Mozart’s
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2
Corni di bassetto, 2 Fg,
2 Tr, 3 Trb, Timp, 2 Vl,
Va, Bc) SKU:
CA.5165205
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Choral
Score. KV 626. Duration
50 minutes. Carus Verlag
#5165205. Published by
Carus Verlag
(CA.5165205). ISBN
9790007314286. Key: D
minor. Latin. The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartâs Requiem.
âAnother one?â
you might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional SüÃmayr
version. Yet such is the
enormous power of
Mozartâs score that
the challenge and appeal
of completing it remain
undiminished. After two
decades of intensive
study, Howard
Armanâs additions to
Mozartâs great
original show the
requisite care and
respect while
incorporating many new
insights.
Armanâ
s approach is
particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartâs brilliant
composing style: The
masterly compositional
technique, the search for
innovative solutions to
every problem, and even
the terse treatment of
the text with extremely
suggestive harmonies. All
of this leads to a number
of new listening
experiences. In the Tuba
mirum, for example, we
enjoy a warm, cohesive
ensemble sound, supported
by the bassoons, which
depart from the bass
line. The Confutatis
presents a quite
different picture: Even
the basset horns are
drawn down into the
infernal depths. This
effect is reinforced by
the independence of the
trombones; rather than
simply following the
choral parts, the
instrumentâs unique
sound is given an
opportunity to shine.
Armanâs Lacrimosa
achieves a lively
Mozartian feel by
granting the voices
considerable freedom
rather than following a
rigid pattern. And he
concludes the movement
with a fugal Amen,
whereby the focus is not
so much on the
counterpoint itself, but
rather â in the
spirit of Mozart â
on creating a sense of
drama and illuminating
the theme in all its
possible facets.
Mozartâs fragment
ends with the Hostias,
and so does Armanâs
completion.
For
the four following
movements (Sanctus to
Communio) we have nothing
from Mozart, and so here,
where the master is
silent, Arman finally
returns to SüÃmayr,
the man who was closest
to Mozart at the time of
his death and whose
efforts to fill the blank
manuscripts still garner
our respect
today.
Armanâ
s version has already
proven its practical
value. The premiere with
the Bavarian Radio Choir
was enthusiastically
received by audiences and
press alike â and
celebrated as offering a
scholarly, entirely fresh
perspective on
Mozartâs
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem (Arman-Fassung) Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Carus Verlag
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2
Corni di bassetto, 2 Fg,
2 Tr, 3 Trb, Timp, 2 Vl,
Va, Bc) SKU:
CA.5165219
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Set of
Orchestra Parts. KV 626.
Duration 50 minutes.
Carus Verlag #5165219.
Published by Carus Verlag
(CA.5165219). ISBN
9790007313883. Key: D
minor. Latin. The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartâs Requiem.
âAnother one?â
you might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional SüÃmayr
version. Yet such is the
enormous power of
Mozartâs score that
the challenge and appeal
of completing it remain
undiminished. After two
decades of intensive
study, Howard
Armanâs additions to
Mozartâs great
original show the
requisite care and
respect while
incorporating many new
insights.
Armanâ
s approach is
particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartâs brilliant
composing style: The
masterly compositional
technique, the search for
innovative solutions to
every problem, and even
the terse treatment of
the text with extremely
suggestive harmonies. All
of this leads to a number
of new listening
experiences. In the Tuba
mirum, for example, we
enjoy a warm, cohesive
ensemble sound, supported
by the bassoons, which
depart from the bass
line. The Confutatis
presents a quite
different picture: Even
the basset horns are
drawn down into the
infernal depths. This
effect is reinforced by
the independence of the
trombones; rather than
simply following the
choral parts, the
instrumentâs unique
sound is given an
opportunity to shine.
Armanâs Lacrimosa
achieves a lively
Mozartian feel by
granting the voices
considerable freedom
rather than following a
rigid pattern. And he
concludes the movement
with a fugal Amen,
whereby the focus is not
so much on the
counterpoint itself, but
rather â in the
spirit of Mozart â
on creating a sense of
drama and illuminating
the theme in all its
possible facets.
Mozartâs fragment
ends with the Hostias,
and so does Armanâs
completion.
For
the four following
movements (Sanctus to
Communio) we have nothing
from Mozart, and so here,
where the master is
silent, Arman finally
returns to SüÃmayr,
the man who was closest
to Mozart at the time of
his death and whose
efforts to fill the blank
manuscripts still garner
our respect
today.
Armanâ
s version has already
proven its practical
value. The premiere with
the Bavarian Radio Choir
was enthusiastically
received by audiences and
press alike â and
celebrated as offering a
scholarly, entirely fresh
perspective on
Mozartâs
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press. $240.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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