| From the Southland Piano seul Theodore Presser Co.
Chamber Music Piano SKU: PR.140401340 Sketches for Piano. Composed...(+)
Chamber Music Piano
SKU: PR.140401340
Sketches for
Piano. Composed by
Harry T. Burleigh. Edited
by Lara Downes. 16 pages.
Duration 18 minutes.
Theodore Presser Company
#140-40134. Published by
Theodore Presser Company
(PR.140401340). ISBN
9781491134450. UPC:
680160684953. Best
known for his settings of
spirituals and influence
on Dvorák, Henry T.
Burleigh was a celebrated
baritone, and a prolific
composer of original
works. FROM THE SOUTHLAND
is a suite of six
atmospheric scenes of the
American south, inspired
by Black musical and
cultural traditions. FROM
THE SOUTHLAND is within
reach of intermediate
pianists and artistically
suited for professional
recitals. In 1835,
Henry T.
Burleigh’s
maternal grandfather
purchased his own release
from slavery for the sum
of $50, and traveled
north out of Maryland to
begin a new life as a
free man. He established
his family in Ithaca, NY,
and then moved to the
bustling lakefront city
of Erie, PA, where three
decades later his
grandson Henry would be
born and raised.For
Burleigh, the
“Southlandâ€
that inspired this
collection of piano
sketches was a distant
place that could not have
been more different from
the physical world he
knew, up there in the
northern snowbelt. And
yet these southern
landscapes and vignettes
must have been intensely
present in his
consciousness, absorbed
through the stories and
songs he first learned at
his grandfather’s
knee.The music of the
South – the
spirituals and work songs
he heard as a child
–would travel with
Burleigh throughout his
long and illustrious
musical life. Even as he
progressed through his
early classical training,
his career as a baritone
soloist in Erie’s
churches and synagogue,
his move to New York to
study at the National
Conservatory of Music,
and his rise to national
prominence as a concert
soloist, these ancestral
melodies stayed firmly
centered in his musical
identity.When he wrote
From the Southland, his
only composition for solo
piano, Burleigh was just
beginning his career as a
composer. The art songs
that would establish him
as one of
America’s best
known composers in the
genre were still to come.
And so were his iconic
arrangements of
spirituals that would
bring the songs of
slavery onto concert
stages around the world,
transformed into timeless
and uniquely American
music.These little piano
sketches bring together
all the things that made
Burleigh the musician he
was – the lush,
late-romantic style of
his time; a broad vision
for American music; and a
profound respect for his
heritage, a memory of the
world his grandfather
left behind, and a love
of the music he brought
with him. $11.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Labyrinth Theodore Presser Co.
Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon,...(+)
Band Bass Clarinet, Bass
Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Euphonium, Flute,
Horn, Keyboard, Oboe,
Percussion, Piccolo,
Timpani, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone, soprano
Saxophone, tenor
Saxophone and more.
SKU: PR.115404250
Composed by Carter Pann.
Set of Score and Parts.
92+8+12+12+12+12+8+8+12+1
2+12+12+12+12+12+12+8+12+
12+12+8+8+8+8+8+8+8+8+8+8
+8+8+8+8+8+8+12+8+8+8+8+8
+8 pages. Duration 26
minutes. Theodore Presser
Company #115-40425.
Published by Theodore
Presser Company
(PR.115404250). UPC:
680160688135. MyÂ
work Labyrinth for
Ithaca College could have
easily been titled as my
Third Symphony. The work
is larger in scope than
every other work of mine
for winds, save perhaps
my first symphony. The
piece is cast in two main
parts, each consisting of
two movements. As it
happened I wrote the
movements backwards
(fitting for something
called Labyrinth). The
size of the band is on
par with that of Karel
Husa’s Music for
Prague 1968 with one
exception, there is an
electric keyboard part
which lends certain
moments in the piece an
other-worldly ambience...
sounds that are
altogether different from
anything possible from
acoustic instruments. At
the risk of sounding
obvious or mundane, I had
two words floating around
my brain during the
composing of this work
— HUGE and
melodic. My
predisposition to create
inherently melodic music
is inescapable at this
point in my composing
career. This is the kind
of music I have
gravitated towards since
beginning at the piano so
long ago. I don’t
write ambient or spectral
music, nor do I write
music replete with
extended techniques. The
crafting of melodies with
gravitas has always made
my process of composing
the most satisfying. The
very last movement of
Labyrinth is a gargantuan
crescendo the likes of
the last movement of
Respighi’s The
Pines of Rome or
Ravel’s Bolero and
should leave the audience
and players sonically
drenched by the end.
I’m so honored to
have this opportunity to
compose for Ithaca
College’s 50th
Anniversary of that
seminal work of Karel
Husa’s. I have
known Music for Prague
1968 as long as
I’ve known serious
music for winds. It is my
aim that every moment of
Labyrinth offers the
players as much to bite
their teeth on as it
leaves the audience in
its throng from start to
finish. -CP. $285.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Labyrinth Theodore Presser Co.
Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon,...(+)
Band Bass Clarinet, Bass
Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Euphonium, Flute,
Horn, Keyboard, Oboe,
Percussion, Piccolo,
Timpani, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone, soprano
Saxophone, tenor
Saxophone and more.
SKU: PR.11540425S
Composed by Carter Pann.
Study Score. 92 pages.
Duration 26 minutes.
Theodore Presser Company
#115-40425S. Published by
Theodore Presser Company
(PR.11540425S). UPC:
680160688142. MyÂ
work Labyrinth for
Ithaca College could have
easily been titled as my
Third Symphony. The work
is larger in scope than
every other work of mine
for winds, save perhaps
my first symphony. The
piece is cast in two main
parts, each consisting of
two movements. As it
happened I wrote the
movements backwards
(fitting for something
called Labyrinth). The
size of the band is on
par with that of Karel
Husa’s Music for
Prague 1968 with one
exception, there is an
electric keyboard part
which lends certain
moments in the piece an
other-worldly ambience...
sounds that are
altogether different from
anything possible from
acoustic instruments. At
the risk of sounding
obvious or mundane, I had
two words floating around
my brain during the
composing of this work
— HUGE and
melodic. My
predisposition to create
inherently melodic music
is inescapable at this
point in my composing
career. This is the kind
of music I have
gravitated towards since
beginning at the piano so
long ago. I don’t
write ambient or spectral
music, nor do I write
music replete with
extended techniques. The
crafting of melodies with
gravitas has always made
my process of composing
the most satisfying. The
very last movement of
Labyrinth is a gargantuan
crescendo the likes of
the last movement of
Respighi’s The
Pines of Rome or
Ravel’s Bolero and
should leave the audience
and players sonically
drenched by the end.
I’m so honored to
have this opportunity to
compose for Ithaca
College’s 50th
Anniversary of that
seminal work of Karel
Husa’s. I have
known Music for Prague
1968 as long as
I’ve known serious
music for winds. It is my
aim that every moment of
Labyrinth offers the
players as much to bite
their teeth on as it
leaves the audience in
its throng from start to
finish. -CP. $46.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Labyrinth Theodore Presser Co.
Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon,...(+)
Band Bass Clarinet, Bass
Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Euphonium, Flute,
Horn, Keyboard, Oboe,
Percussion, Piccolo,
Timpani, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone, soprano
Saxophone, tenor
Saxophone and more.
SKU: PR.11540425L
Composed by Carter Pann.
Large Score. 92 pages.
Duration 26 minutes.
Theodore Presser Company
#115-40425L. Published by
Theodore Presser Company
(PR.11540425L). UPC:
680160688159. MyÂ
work Labyrinth for
Ithaca College could have
easily been titled as my
Third Symphony. The work
is larger in scope than
every other work of mine
for winds, save perhaps
my first symphony. The
piece is cast in two main
parts, each consisting of
two movements. As it
happened I wrote the
movements backwards
(fitting for something
called Labyrinth). The
size of the band is on
par with that of Karel
Husa’s Music for
Prague 1968 with one
exception, there is an
electric keyboard part
which lends certain
moments in the piece an
other-worldly ambience...
sounds that are
altogether different from
anything possible from
acoustic instruments. At
the risk of sounding
obvious or mundane, I had
two words floating around
my brain during the
composing of this work
— HUGE and
melodic. My
predisposition to create
inherently melodic music
is inescapable at this
point in my composing
career. This is the kind
of music I have
gravitated towards since
beginning at the piano so
long ago. I don’t
write ambient or spectral
music, nor do I write
music replete with
extended techniques. The
crafting of melodies with
gravitas has always made
my process of composing
the most satisfying. The
very last movement of
Labyrinth is a gargantuan
crescendo the likes of
the last movement of
Respighi’s The
Pines of Rome or
Ravel’s Bolero and
should leave the audience
and players sonically
drenched by the end.
I’m so honored to
have this opportunity to
compose for Ithaca
College’s 50th
Anniversary of that
seminal work of Karel
Husa’s. I have
known Music for Prague
1968 as long as
I’ve known serious
music for winds. It is my
aim that every moment of
Labyrinth offers the
players as much to bite
their teeth on as it
leaves the audience in
its throng from start to
finish. -CP. $82.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Son et lumière Merion Music
Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clari...(+)
Orchestra Bass Clarinet,
Bass Drum, Bassoon 1,
Bassoon 2, Celesta,
Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Claves, Contrabass,
Contrabassoon, Cowbell,
Crotales, English Horn,
Glockenspiel, Harp, Horn
1, Horn 2, Horn 3, Horn
4, Maracas, Marimba, Oboe
1 and more. SKU:
PR.11641737S Composed
by Steven Stucky. Study
Score. 68 pages. Duration
9 minutes. Merion Music
#116-41737S. Published by
Merion Music
(PR.11641737S). ISBN
9781491136133. UPC:
680160688432. Son
et lumière
(“sound and
light,†a kind of
show staged for tourists
at historic sites or
famous buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my
attempt, I suppose, to
achieve the rhythmic
vitality of minimalism,
but without giving in to
the over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“seriousâ€
voice, transcending the
external show of sound
and light.Son et
lumière, commissioned
by the Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony
Yaddo, in Saratoga
Springs (N.Y.). David
Zinman conducted the
first performance in
Baltimore on 18 May 1989;
André Previn gave the
West Coast premiere with
the Los Angeles
Philharmonic on 18
January, 1990. Son et
lumière (“sound
and light,†a kind
of show staged for
tourists at historic
sites or famous
buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my
attempt, I suppose, to
achieve the rhythmic
vitality of minimalism,
but without giving in to
the over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“seriousâ€
voice, transcending the
external show of sound
and light.Son et
lumière, commissioned
by the Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony
Yaddo, in Saratoga
Springs (N.Y.). David
Zinman conducted the
first performance in
Baltimore on 18 May 1989;
André Previn gave the
West Coast premiere with
the Los Angeles
Philharmonic on 18
January, 1990. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 200 B.C. Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Oxford University Press
Concert band - Grade 4 SKU: MH.0-931329-53-1 Composed by Gregory B.Rudger...(+)
Concert band - Grade 4
SKU:
MH.0-931329-53-1
Composed by Gregory
B.Rudgers. Suitable for
high school, community,
and college bands.
Conductor score and set
of parts. Duration 7:30.
Published by Manhattan
Beach Music
(MH.0-931329-53-1).
ISBN
9780931329531. Jour
ney back to ancient
Greece and view a place
of long-gone legend.
Follow the trail to the
Kingdom of Ithaca, from
the heroic palace, to a
place of tranquility, to
a reckless dance of
abandon, to the return of
Odysseus. The melodic
material used in 200 B.C.
is from a two thousand
year old Greek hymn to
Apollo. The legendary
adventures of Odysseus as
described by Homer in the
Odyssey (ca. 700 B.C.)
provide the programmatic
material. The music is
freely based upon the
First Delphic Hymn (or
Paen to Apollo), composed
ca. 200 B.C. The source
is a transcription
appearing on pages 363 -
367 of Ancient and
Oriental Music, Edited by
Egon Wellesz (Oxford
University Press: London,
1957). Each movement of
the work depicts a key
event in the epic Homeric
poem, as described below.
Movement I: Intrada - The
first four notes of this
movement, C - Bb - G -
Bb, are the melodic and
harmonic foundation for
the entire work. These
pitches, introduced in a
simple and direct manner,
are subsequently
developed in more complex
fashions throughout the
suite. Following this
stately introduction is a
militaristic fanfare that
introduces the
dotted-eighth and
sixteenth-note figure
later reprised in the
second and fourth
movements. Indeed, all
the musical ideas which
will be central to the
remaining movements first
appear in the Intrada.
This movement depicts the
grandeur of Odysseus and
his kingdom in Ithaca,
and establishes the
heroic mood of the entire
work. Movement II: Ballad
- After a brief
restatement of the
opening
dotted-eighth-and-sixteen
th fanfare, the second
movement extracts the
falling third (Bb to G)
from the C - Bb - G - Bb
motif and extends it and
expands it into a
haunting solo for alto
saxophone. The C - Bb - G
- Bb motif appears again
(see measures 23 - 33 in
trumpets) as counterpoint
to this melody, now
pulsing through the thick
texture of the band. Many
performers have come to
view the Ballad as the
emotional epicenter of
the entire suite; my
conception of the Ballad
is to achieve a union of
pathos and strength.
Programmatically, this
movement depicts
Odysseus's son,
Telemachos, as he both
longs for Odysseus's
return and stoically
defends his father's
kingdom. Movement III:
Dance - It will take
Odysseus twenty years to
return to Ithaca. During
his absence, noblemen
besiege his palace,
violating the sanctity of
the household and seeking
the hand of his wife,
Penelope. This movement
depicts the wanton
revelries that result.
The original four-note
motif is chromatically
altered and the meter is
made irregular. The rapid
tempo, driving
percussion, and angular
meter and melodies
combine in an explosion
of reckless abandon.
Movement IV: March
Building from a delicate
woodwind ensemble
accompanied by finger
cymbals to a fully
orchestrated statement
replete with thundering
percussion, this is a
resounding march of
victory. Odysseus has
returned in triumph to
restore dignity to his
household and to reclaim
the throne of the Kingdom
of Ithaca. Ensemble
instrumentation: 1
Piccolo, 8 Flute 1 - 2, 2
Oboe 1 - 2, 4 Bb Clarinet
1, 4 Bb Clarinet 2, 4 Bb
Clarinet 3, 1 Eb Alto
Clarinet, 3 Bb Bass
Clarinet, 2 Bassoon 1 -
2, 3 Eb Alto Saxophone 1,
3 Eb Alto Saxophone 2, 2
Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 F
Horn 1-2, 2 F Horn 3-4, 2
Trombone 1, 2 Trombone 2,
2 Trombone 3, 3 Euphonium
(B.C.), 2 Euphonium T.C.,
4 Tuba, 1 Timpani, 2
Mallet Percussion: Bells,
Xylophone, 2 Percussion
1: Snare Drum,
Tambourine, 2 Percussion
2: Crash Cymbals,
Suspended Cymbal,
Tom-Tom, Finger Cymbals,
1 Percussion 3: Bass
Drum. $135.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| I Am in Need of Music Chorale SATB SATB, Piano Carl Fischer
Composed by Jesse Beulke. Sws. Octavo. 16 pages. Duration 4 minutes, 20 se...(+)
Composed by Jesse Beulke.
Sws. Octavo. 16 pages.
Duration 4 minutes, 20
seconds. Carl Fischer
Music
#CM9653. Published by
Carl
Fischer Music
$3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 8 Schott
Choral; Orchestra; Vocal Solo (Study Score) SKU: HL.49045992 Lieder De...(+)
Choral; Orchestra; Vocal
Solo (Study Score)
SKU: HL.49045992
Lieder Der
Verganglichkeit.
Composed by Krzysztof
Penderecki. This edition:
Saddle stitching. Sheet
music. Study Score.
Classical, Song Cycle.
Softcover. Composed
2004-2005/2007. 156
pages. Duration 3300
seconds. Schott Music
#ED22969. Published by
Schott Music
(HL.49045992). ISBN
9790001203708. UPC:
842819100218.
8.0x11.5x0.418 inches.
German. Lieder Der
Verganglichkeit 3
Soloists (SMezBar), Mixed
Choir and Orchestra Study
Score. The form of
this work is not so much
based on the classical
symphony, but is closer
to a song cycle structure
which has now grown
toinclude 13 movements
for choir and orchestra.
The Romantic
characteristics and form
of the 8th Symphony are
both reminiscent of
Gustav Mahlers choral
symphonic works and his
Lied von der Erde.
Krzysztof Penderecki here
extends and augments his
expressive musical
material, for example
through cluster
techniques and glissandi,
possibilities which he
has been systematically
exploring since the
1950s. He has compiled
the texts from poetry by
Eichendorff, Rilke,
Brecht, Kraus, Hesse,
Goethe, Bethge and von
Arnim on the theme of
forests and trees, which
has long been close to
his heart as demonstrated
by his private arboretum
near Luslavice ('my
personal Ithaca')
containing over 1500
species of trees. $76.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| In Search of Meaning: Frank L. Battisti GIA Publications
SKU: GI.G-301216 The Conservatory Years and into the New Millennium(+)
SKU: GI.G-301216
The Conservatory Years
and into the New
Millennium. Composed
by Mitchell Lutch. Music
Education. 184 pages. GIA
Publications #301216.
Published by GIA
Publications
(GI.G-301216). ISBN
9781574634952. UPC:
888680964245. This
biography begins in 1967
as Frank L. Battisti
concludes a celebrated
14-year career as
Director of Bands at
Ithaca High School,
followed by a move to
Baldwin Wallace College
Conservatory. Later,
Battisti answers a call
from Gunther Schuller to
establish a wind ensemble
program at New England
Conservatory. His
unparalleled
accomplishments, known
throughout the world,
have provided artistic
vision and leadership
that propelled the wind
band/ensemble into the
21st century. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Finally On My Way To Yes Chorale SSATB Seafarer Press
By Elizabeth Alexander. For SSATB Choir, piano (SSATB). Medium-difficult. Durati...(+)
By Elizabeth Alexander.
For SSATB Choir, piano
(SSATB).
Medium-difficult.
Duration 7 minutes
$4.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
1 |