Brass Band - Grade 4 SKU: BT.DHP-1206265-130 Andantino. Composed b...(+)
Brass Band - Grade 4
SKU:
BT.DHP-1206265-130
Andantino.
Composed by Sir Malcolm
Arnold. Arranged by Ray
Farr. Great Classics.
Classical. Score Only.
Composed 2020. 12 pages.
De Haske Publications
#DHP 1206265-130.
Published by De Haske
Publications
(BT.DHP-1206265-130).
English
Dances, Set I, opus
27, is a light
classic composition that
was written for orchestra
by the British composer
Malcolm Arnold in 1950.
The set contains four
dances that continue
without pause: the
individual movements are
indicated by the tempo
markings. The work came
about at the request of
Bernard de Nevers, at the
time the head of
publisher Alfred Lengnick
& Co., who asked Arnold
to write a suite of
dances as an English
counterpart to Dvo
ák’s Slavonic
Dances and
Bartók’s
Romanian Folk Dances. The
première took place in
the spring of 1951,
played by the London
Philharmonic Orchestra,
conducted by Sir Adrian
Boult. Following the
success of the first set,
DeNevers asked the
composer to write a
second one, which Arnold
completed the next year
(Op. 33). The
Andantino from the
first set has been
skilfully arranged and
orchestrated for brass
band by Ray Farr.
English
Dances, Set I, opus
27, is een licht
klassieke compositie die
in 1950 door de Britse
componist Malcolm Arnold
voor orkest geschreven
werd. De set bestaat uit
vier dansen die zonder
onderbreking in elkaar
overgaan: de
afzonderlijke delen
worden aangegeven met de
tempomarkering. Het werk
kwam tot stand op verzoek
van Bernard de Nevers,
destijds het hoofd van
uitgeverij Alfred
Lengnick & Co., die
Arnold vroeg om een reeks
dansen te schrijven als
een Engelse tegenhanger
voor de Slavische dansen
van Dvo ák en de
Roemeense volksdansen van
Bartók. De première
werd in het voorjaar van
1951 gebracht door het
London Philharmonic
Orchestra, onder leiding
van Sir Adrian Boult.Na
het succes van de eerste
set vroeg De Nevers om
een tweede, die Arnold
een jaar later voltooide
(opus 33). Het
Andantino uit de
eerste set is door Ray
Farr meesterlijk
gearrangeerd en ge
nstrumenteerd voor
brassband.
English
Dances, Set I, opus
27, ist eine leicht
Klassische Komposition,
die 1950 von dem
britischen Komponisten
Malcolm Arnold für
Orchester geschrieben
wurde. Die Reihe
enthält vier Tänze,
die ohne Unterbrechung
gespielt werden. Die
einzelnen Sätze sind
mit Tempoangaben
versehen. Das Werk
entstand auf Wunsch von
Bernard de Nevers, dem
damaligen Leiter des
Verlags Alfred Lengnick &
Co., der Arnold bat, eine
Reihe von Tänzen als
englisches Gegenstück
zu Dvo áks Slawischen
Tänzen“ und
Bartóks Rumänischen
Volkstänzen“ zu
schreiben. Die
Uraufführung fand im
Frühjahr 1951 mit dem
London Philharmonic
Orchestra unter der
Leitung von Sir Adrian
Boult statt. Nach
demErfolg der ersten
Reihe bat de Nevers den
Komponisten, eine zweite
Reihe zu schreiben, die
Arnold im darauffolgenden
Jahr fertigstellte (op.
33). Das Andantino
aus der ersten Reihe
wurde von Ray Farr
gekonnt für Brass Band
arrangiert und
orchestriert.
By Antony Holborne, William Brade, Claude Gervaise, Thomas Ravenscroft, And John...(+)
By Antony Holborne,
William Brade, Claude
Gervaise, Thomas
Ravenscroft, And John
Dowland. Arranged by
Andrew Dabczynski. Music
by Antony Holborne,
William Brade, Claude
Gervaise, Thomas
Ravenscroft, and John
Dowland / arr. Andrew
Dabczynski. For String
Orchestra. String
Orchestra. String
Explorer. Level: 2 (grade
2). Conductor Score and
Parts. Published by
Alfred Publishing.
By Robert Russell Bennett. Arranged by James Curnow. (Score & Parts). MusicWorks...(+)
By Robert Russell
Bennett. Arranged by
James Curnow. (Score &
Parts). MusicWorks Grade
3. Concert Band. Score
and full set of parts.
Size 9x12 inches.
Published by Hal Leonard.
By Robert Russell Bennett. Arranged by James Curnow. (Score). MusicWorks Grade ...(+)
By Robert Russell
Bennett. Arranged by
James Curnow. (Score).
MusicWorks Grade 3.
Concert Band. Score and
full set of parts. 48
pages. Published by Hal
Leonard.
(Score) - Grade 3 SKU: HL.4002362 Composed by Giovanni de Palestrina. Arr...(+)
(Score) - Grade 3
SKU:
HL.4002362
Composed
by Giovanni de
Palestrina. Arranged by
John Moss. MusicWorks
Grade 3. Concert Band.
Published by Hal Leonard
(HL.4002362).
UPC:
073999376876.
9.0x12.0x0.076
inches.
Hymns by
Giovanni de Palestrina
pre-date those of Bach by
over a century and
incorporate the great
polyphonic tradition of
Renaissance writing. The
compositions used in this
suite are from a
collection published in
1589 titled Hymns of the
Entire Year, and
incorporate antiphonal
choral effects that lend
themselves particularly
well to instrumental
settings. John Moss uses
richly contrasting tone
colors and textures as
well as characteristic
modal tonalities in this
wonderful setting for
band. (3:30).
Sweet Suite Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
(A Symphonius Smorgasbord). By Andrew H. Dabczynski. Orchestra. Part(s); Score; ...(+)
(A Symphonius
Smorgasbord). By Andrew
H. Dabczynski. Orchestra.
Part(s); Score;
SmartMusic; String
Orchestra.
HighlandåÊString
Explorer. Form: Suite.
Light Concert. Grade 1.5.
140 pages. Published by
Alfred Music Publishing
(Score) - Grade 3 SKU: HL.4002390 Composed by Samuel R. Hazo. MusicWorks ...(+)
(Score) - Grade 3
SKU:
HL.4002390
Composed
by Samuel R. Hazo.
MusicWorks Grade 3.
Concert Band. 20 pages.
Published by Hal Leonard
(HL.4002390).
UPC:
073999979886.
9.0x12.0x0.08
inches.
Our sky is
never the same –
from day to day or even
hour to hour. It holds
the brightest and darkest
things we will ever see,
and in addition is
capable of displaying
every imaginable color
and mood. Through this
expressive work, Samuel
Hazo has translated the
many qualities of the sky
into musical moods. The
opening section features
flowing melodies
beautifully developed
between soloistic and
full ensemble playing.
The
“sinisterâ€
fast section features
driving rhythms, mixed
meters and a crescendo
that evolves into a
powerful setting of the
original melody. Sam's
sense of timing and
emotional pacing is
strongly evident in this
effective work.
(5:45).
And Two Suites in A Minor and E-flat Minor. Composed by Johann Sebastian Bach (1...(+)
And Two Suites in A Minor
and E-flat Minor.
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Dr. Hans Bischoff.
Masterworks; Piano
Collection. Kalmus
Edition. Form: Suite.
Baroque; Masterwork.
Book. 64 pages. Kalmus
Classic Edition
#00-K03041. Published by
Kalmus Classic Edition
(1.1.2.1/2.2.1.0,timp,per c,str) SKU: TM.08779SET Composed by Gabriel Pie...(+)
(1.1.2.1/2.2.1.0,timp,per
c,str)
SKU:
TM.08779SET
Composed
by Gabriel Pierne. Edited
by Jean Mouton. Set Type:
C. Set of parts. Lucks
Music Library #A7491.
Published by Lucks Music
Library (TM.08779SET).
Transposed: Tpt
III, all others in Mod.
Keys and Clefs. Russian
in Cerullic; chs in sc
only.
(1.1.1.1/1.1.0.0,perc,str ) SKU: TM.08777SET Composed by Gabriel Pierne. ...(+)
(1.1.1.1/1.1.0.0,perc,str
)
SKU: TM.08777SET
Composed by Gabriel
Pierne. Edited by Jean
Mouton. Set Type: C. Set
of parts. Lucks Music
Library #A7489. Published
by Lucks Music Library
(TM.08777SET).
Transposed: Tpt
III, all others in Mod.
Keys and Clefs. Russian
in Cerullic; chs in sc
only.
Cello SKU: BO.B.3726 Composed by Melani Mestre. Published by Editorial de...(+)
Cello
SKU:
BO.B.3726
Composed by
Melani Mestre. Published
by Editorial de Musica
Boileau (BO.B.3726).
Written in
2001, this work was
conceived by the need to
enlarge the repertoire of
works for solo cello, an
important goal since the
repertoire of such works
is limited. Most cellists
are limited to
performances of such
well-known solo works as
the Suites of Bach,
written almost 300 years
ago, as well as other
classics of the genre by
Max Reger, Zoltan Kodaly,
Benjamin Britten, Gaspar
Cassado, Enric Casals,
etc.
The
intention of the Suite
Exotique is to
revolutionize the concept
of the Baroque suite by
transforming the suite
into a collection of
modern dances, which are
both contemporary and
widely recognized today.
Thus, the dances of the
Baroque suite, such as
Allemande, Courante,
Sarabande are substituted
for the Tango, Milonga,
Blues in such a way that
the traditional formal
structure of six
movements of Baroque
dances is modernized by
rhythms and contemporary
styles which coexist in
the Modern world, but are
separate from and do not
pertain to those works
which are normally
considered to belong to
the realm of cultured
music.
Apart
from the fusion
represented by the
mixture of a Baroque
genre with modern, urban
musical language found in
this work, the subtitle
exotica is appropriate
due to the originality of
writing such a work for
cello solo. This work
allows the interpreter to
explore and take full
advantage of their
technical, artistic and
expressive
abilities.
This
work establishes a total
symbiosis between the
instrument and the
evolutionary
transformation of its
musical language which in
turn creates a style
adapted to the expressive
requirements of the work
itself. The specific
techniques and qualities
of the cello are placed
in service of the
required style and
concept of each movement
of the Suite. At the same
time those stylistic
characteristics are
transformed and adapted
to the particular
characteristics of the
cello and taking full
advantage of the
instruments polyphonic,
sonic, aesthetic
qualities as well as its
timbre.
The
Suite Exotique was
premiered in August, 2003
during the International
Music Festival of Ibiza
by the Russian cellist
Svetlana Tovstukha.
Four Norfolk Dances Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-022-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-022-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2001. Anglo
Music Press #AMP 022-140.
Published by Anglo Music
Press (BT.AMP-022-140).
Norfolk is one
of the most beautiful
counties in England,
famous for its charming
villages and boundless
broads, a popular centre
for sailing holidays. It
is also the home of one
of the best known of all
British composers, Sir
Malcolm Arnold. The date
of the premiere of this
piece was to fall close
to his 80th birthday, so
Philip Sparke decided to
write something of a
birthday tribute. Some of
Arnoldâ??s best-loved
orchestral works are his
sets of dances: there are
two sets of English
Dances, Four Scottish
Dances, Four Cornish
Dances etc., most of
which have been arranged
for concert band at one
time or another. Philip
Sparke thought it would
be appropriate for the
concert band tohave its
own set of dances and
wrote Four Norfolk Dances
very much in the style of
Arnoldâ??s suites.
Norfolk,
berühmt für seine
prächtigen Dörfer
und die ausgedehnte
Seenplatte, ist eine der
schönsten Landschaften
Englands. Und es ist die
Heimat von Sir Malcolm
Arnold, einem sehr
bekannten britischen
Komponisten. Philip
Sparke wollte diesem
anlässlich seines
Geburtstags eine Ehre
erweisen. Zu den
beliebtesten
Orchesterwerken Arnolds
zählen seine
(englischen, schottischen
und kornischen) Tänze,
die grö�tenteils
für Harmonieorchester
arrangiert wurden. Philip
Sparke schrieb nun eine
eigene Auswahl von
Tänzen, die Four
Norfolk Dances für
Blasorchester im Stil von
Arnolds Suiten.
By University of Texas at El Paso Symphonic Winds. Release date: February 27, 20...(+)
By University of Texas at
El Paso Symphonic Winds.
Release date: February
27, 2013. Mark Records.
Listening CD. Duration
56:44:00. Published by
Mark Custom Music
(MK.50782-MCD).
2 violins and continuo, 2 flutes and continuo, 2 oboes and continuo SKU: FZ.5...(+)
2 violins and continuo, 2
flutes and continuo, 2
oboes and continuo
SKU: FZ.5906
Composed by Jean-Joseph
Mouret. Edited by
Department De Musique
Ancienne Du C.N.S.M De
Paris. This edition:
Facsimile. La Musique
Francaise Classique de
1650 a 1800. Score.
Published by Anne Fuzeau
Productions - France
(FZ.5906).
ISBN
9790230659062. 24.00 x
33.00 cm
inches.
This
facsimile of an original
by Jean-Joseph Mouret is
part of our French
classical music
collection. Edition :
Paris, l'Auteur, Boivin,
Leclerc, 1737. Preface:
Early music department of
the C. N. S. M. D. de
Paris (class of Irene
Ginger and Jean
Saint-Arroman): links
between danse and music -
choreographic proposals
for certain dances -
Mouret's ornamentation -
Proposed ornamentation
for the repeats of a
saraband. Three separate
instrumental parts:
premier dessus, second
dessus, continuo
(instrumentation ad
libitum , violins, flutes
or oboes). These works
are written as trio and
may be performed by two
dessus (violins, flutes
or oboes) and basso
continuo. They may also
be played with a chamber
orchestra formation. As
the dance suites of
theatrical works are
artificial, 18 th century
suites, written specially
for dance, are rare.
Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile
of a copy in the National
Library of Paris
(France). Anne Fuzeau
Classique propose period
copies of classical music
scores.
Tatarian Dances Orchestre [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
Arranged by Elena Roussanova Lucas. Traditional. For Full Orchestra. Full Orches...(+)
Arranged by Elena
Roussanova Lucas.
Traditional. For Full
Orchestra. Full
Orchestra. Belwin Concert
Full Orchestra. Level: 5
(grade 5). Conductor
Score and Parts. 324
pages. Published by
Alfred Publishing.
Music
for Orchestra with String
Quartet. Composed by
Helmut Lachenmann.
Softcover.
Partitur-Bibliothek
(Score Library). Solo
concerto; Dances/marches;
Music post-1945. Sheet
Music. Composed 1979/80.
176 pages. Duration 36'.
Breitkopf and Haertel #PB
5714. Published by
Breitkopf and Haertel
(BR.PB-5714).
ISBN
9790004216514. 10.5 x 14
inches.
More than
my earlier works, this
one is interspersed with
metrically bound rhythms
and musicianly characters
that constantly
recrystallize and drift
towards or away from
familiar situations.The
familiar: These are
dance-like figures and
music-making formulas,
but also songs and, in
two cases fragments of
Bach's music - playfully
collected memories of
impressions in which -
consciously and
unconsciously - I am
embodied with that
collective comfort in
whose protection
bourgeois thinking and
feeling, magically
protected, grow up and
emerge apart.(It is well
known that such security
has its fetishes from the
childlike to the adult
stage: Home, religious
bond, holidays,
tradition, longing for
childhood - the
superficiality may have
little idea of the depth
that opens up underneath.
There is also no question
that we are still marked
by such security even
when the contradictions
and alienation of
existence force us to
step out of their
protection, to recognize
and act upon reality, and
to oppose the domination
of such inner bonds where
their original truth has
become the fatal untruth
of comfortable illusion,
stubbornly and fearfully
conjured idyll and
reactionary
narrow-mindedness.My
music feeds on figures in
which such memories are
encapsulated. It deals
with them not much
differently than in other
pieces with the elements
of the traditional
musical concept of
material, having already
always reflected
compositionally as a
product of sociality and
anticipation of musical
expression, i.e. it moved
into a structurally
expanded context and
expressively redefined
from there.Such an
approach aims at
overcoming lack of
freedom: grasping as part
of conceiving, i.e. not
philosophical reflection,
but rather an
artistically gripping
reflex by intervening in
the physical immediacy of
such predetermined
elements. These penetrate
and infect the structural
events, inducing a
musicianship that cannot
be relied upon; the music
jumps onto rhythms like
onto moving vehicles,
allows for being carried
by them until they deform
or disintegrate. This
creates an incline of
rhythmically shaped
situations: sequence and
interweaving of dances
and structures.The role
of the solo string
quartet is versatile,
obbligato and
concertante, leading and
accompanying in a
changing sense. Set as a
chamber music apparatus
in an orchestral
landscape, it repeatedly
forces its own sound
dimensions onto the
orchestra, it must accept
being drowned out at
times, it nests in the
holes of tutti fields, it
acts as a louse in the
fur, forcing one to
listen in and out.The
Tanzsuite with
Deutschlandlied is
structured as follows:I.
Section. 1. Introduction
- 2. Waltz - 3. March -
4. Bridge -II. Section.
5. Siciliano - 6.
Capriccio - 7. Valse
lente -III. Section. 8.
Bridge - 9. Gigue - 10.
Tarantelle - 11. Bridge
-IV. Section. 12 Aria I -
13 Polka - 14 Aria IIV.
Section. 15. Introduction
- 16 Gallop - 17 Coda
(Aria III)All 17 parts
merge into one
another.(Helmut
Lachenmann,
1980)CDs/LP/DVD:Arditti-Q
uartett, Deutsches
Symphonie-Orchester
Berlin, cond. Olaf
HenzoldCD Montaigne
Auvidis MO 782019Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
Cambreling (Excerpt)CD
BMG/RCA 74321 73510 2
(Musik in Deutschland
1950-2000)Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
CambrelingLP DMR
1028-30Arditti Quartet,
SWR Sinfonieorchester
Baden-Baden und Freiburg,
cond. Hans Zender Excerpt
on CD ,,Auswahl von zehn
Urauffuhrungen aus 70
Jahren, SWR
Sinfonieorchester
Baden-Baden und Freiburg
Arditti Quartet,
Staatsorchester
Stuttgart, cond. Sylvain
Cambreling DVD
,,Lachenmann-Perspektiven
6 (Breitkopf & Hartel,
BHM 7816)
Bibliography:Cavalotti,
Pietro: Differenzen.
Poststrukturalistische
Aspekte in der Musik der
1980er Jahre am Beispiel
von Helmut Lachenmann,
Brian Ferneyhough und
Gerard Grisey (= Sonus.
Schriften zur Musik,
hrsg. von Andreas
Ballsteadt, Band 8),
Schliengen: Argus 2006,
pp. 79-128.Das sind doch
alles Deutschlandlieder!
Helmut Lachenmann im
Gesprach mit Michael
Rebhahn, in: Der
Taktgeber. Das Magazin
der Jungen Deutschen
Philharmonie, Heft 40
(Sommer 2019), S.
6f.Stawowy, Milena:
Fluchtversuche in die
Hohle des Lowen. Helmut
Lachenmanns Tanzsuite mit
Deutschlandlied, in:
MusikTexte 67/68 (1997),
pp. 77-90.Toop, Richard:
Concept and Context: A
Historiographic
Consideration of
Lachenmanns Orchestral
Works, in: Helmut
Lachenmann Inward Beauty,
hrsg. von Dan Albertson,
Contemporary Music Review
23 (2004), Heft 3/4, pp.
125-144.
World
premiere: Donaueschingen
(Donaueschinger
Musiktage), October 18,
1980.
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo....(+)
The Piano Bench of Easy
Classical Music arranged
by Amy Appleby. For Piano
Solo. Music Sales
America. Classical.
Softcover. 400 pages.
Music Sales #AM967549.
Published by Music Sales
(a baroque suite on 'Rudolph the Red-Nosed Reindeer'). By Johnny Marks. Arranged...(+)
(a baroque suite on
'Rudolph the Red-Nosed
Reindeer'). By Johnny
Marks. Arranged by Sylvia
Rabinof. For Piano. Piano
Solo. Level: Late
Intermediate (grade
IV-V). 20 pages.
Published by Alfred
Publishing.
Fred's Fancies Hautbois, Basson et Piano [Conducteur et Parties séparées] Seesaw Music Corp
Oboe, Bassoon & Piano SKU: SS.50600012 Composed by Fred Cohen. Score & Pa...(+)
Oboe, Bassoon & Piano
SKU: SS.50600012
Composed by Fred Cohen.
Score & Parts. Duration
15'. Published by Seesaw
Music Corp (SS.50600012).
Performing
Materials: score and
parts Composer's Note: A
fancy is an English
version of the Italian
capriccio, a form
introduced in the 16th
century for works in
various media wherein the
force of imagination has
better success than
observation of the rules
of art (Furetiere,
Dictionnaire universel).
The term is also used to
describe a suite of
dances. Fred's Fancies is
a series of six dances
that are quite capricious
in nature, a fair
portrait of the person to
whom the work is
dedicated. The suite's
musical material is
introduced in the first
movement, an athletic
Allegro. The following
four movements emphasize
some aspect of the first.
The second, Waltz, is a
quiet variation of the
first movement's opening
gesture. The third,
Manic, combines the
opening gesture with a
secondary theme
emphasizing descending
perfect fourths separated
by half-steps. The fourth
movement, Arioso,
re-visits themes from the
Waltz, now set in a freer
rhythm. The fifth,
Favotte, combines
elements of the gavotte
with fugal episodes. The
cycle culminates in a
speedy final movement,
Vivace, that brings back
the all principal themes
of cycle.
Fred's Fancies Hautbois, Basson et Piano [Conducteur et Parties séparées] Subito Music
Oboe, Bassoon & Piano SKU: SU.50600012 For Oboe, Bassoon & Piano. ...(+)
Oboe, Bassoon & Piano
SKU: SU.50600012
For Oboe, Bassoon &
Piano. Composed by
Fred Cohen. Chamber
Music, Piano Trio. Score
& Parts. Subito Music
Corporation #50600012.
Published by Subito Music
Corporation
(SU.50600012).
Duration: 15'
Performing Materials:
score and parts Published
by: Dunsinane Music
Publishing Composer's
Note: A fancy is an
English version of the
Italian capriccio, a form
introduced in the 16th
century for works in
various media wherein the
force of imagination has
better success than
observation of the rules
of art (Furetière,
Dictionnaire universel).
The term is also used to
describe a suite of
dances. Fred’s
Fancies is a series of
six dances that are quite
capricious in nature, a
fair portrait of the
person to whom the work
is dedicated. The
suite’s musical
material is introduced in
the first movement, an
athletic Allegro. The
following four movements
emphasize some aspect of
the first. The second,
Waltz, is a quiet
variation of the first
movement’s opening
gesture. The third,
Manic, combines the
opening gesture with a
secondary theme
emphasizing descending
perfect fourths separated
by half-steps. The fourth
movement, Arioso,
re-visits themes from the
Waltz, now set in a freer
rhythm. The fifth,
Favotte, combines
elements of the gavotte
with fugal episodes. The
cycle culminates in a
speedy final movement,
Vivace, that brings back
the all principal themes
of cycle.