Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030).
ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches.
A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018.
Piano (Piano Solo) SKU: HL.14041880 The Costume Drama Collection. ...(+)
Piano (Piano Solo)
SKU: HL.14041880
The Costume Drama
Collection. By
Jessica Williams. Music
Sales America. Softcover.
Composed 2008. 96 pages.
Music Sales #AM992134.
Published by Music Sales
(HL.14041880).
ISBN
9781847723659.
9.0x12.0x0.246
inches.
Step back
in time and play these
superb solo piano
arrangements of forty
memorable themes from 20
classic costume dramas.
With evocative moods and
romantic themes from
popular films such as
Dangerous Liaisons, Pride
and Prejudice,Elizabeth
and The Age of
Innocence.
Piano seul [Collection / Songbook|Posters & Prints] - Intermédiaire Warner Brothers
Composed by John Williams. For piano. From the motion picture "Harry Potter And ...(+)
Composed by John
Williams. For piano. From
the motion picture "Harry
Potter And The Chamber Of
Secrets". Format: piano
solo book. With color
photos and fold-out color
poster. Movies. 63 pages.
9x12 inches. Published by
Warner Brothers.
Composed by John Williams, arranged by Bill Galliford, Ethan Neuburg, Tod Edmond...(+)
Composed by John
Williams, arranged by
Bill Galliford, Ethan
Neuburg, Tod Edmondson.
For trombone solo.
Includes trombone solo
book and accompaniment
CD. With standard
notation, fingering chart
and color photos. Movies.
24 pages. 9x12 inches.
Published by Warner
Brothers.
Composed by John Williams, arranged by Bill Galliford, Ethan Neuburg, Tod Edmond...(+)
Composed by John
Williams, arranged by
Bill Galliford, Ethan
Neuburg, Tod Edmondson.
For viola solo and piano
accompaniment. Includes
viola solo book and
accompaniment CD. With
standard notation,
bowings, fingerings,
piano accompaniment,
color photos and black &
white photos. Movies. 72
pages. 9x12 inches.
Published by Warner
Brothers.
Composed by John Williams, arranged by Bill Galliford, Ethan Neuburg, Tod Edmond...(+)
Composed by John
Williams, arranged by
Bill Galliford, Ethan
Neuburg, Tod Edmondson.
For tenor saxophone solo.
Includes saxophone solo
book and accompaniment
CD. With introductory
text, fingering chart and
color photos. Movies. 24
pages. 9x12 inches.
Published by Warner
Brothers.
Composed by John Williams, arranged by Bill Galliford, Ethan Neuburg, Tod Edmond...(+)
Composed by John
Williams, arranged by
Bill Galliford, Ethan
Neuburg, Tod Edmondson.
For alto saxophone solo.
Includes saxophone solo
book and accompaniment
CD. With standard
notation, fingering chart
and color photos. Movies.
24 pages. 9x12 inches.
Published by Warner
Brothers.
Orchestra SKU: HL.14025900 Composed by Bernard Herrmann. Music Sales Amer...(+)
Orchestra
SKU:
HL.14025900
Composed
by Bernard Herrmann.
Music Sales America.
Classical. Studyscore.
Music Sales #NOV750028.
Published by Music Sales
(HL.14025900).
0.453
inches.
Herrmann
wanted to write a musical
portrait of his friend
and colleague Alfred
Hitchcok, so choose
motifs from the movie The
Trouble With Harry, one
of Hitchcock's more
personal and humorous
films. This
single-movement work for
Orchestra employs some of
the more familiar
elements of Herrmann's
compositional style:
short musical phrases
repeated and then
repeated again in other
positions, sharp use of
dynamics among them. From
the first note, the
creepiness begins.Bernard
Herrmann was among the
very greatest of all
composers of music for
cinema and there are many
who avow that he was the
greatest of all. A very
short list of the films
for which this
award-winning
composercreated
soundtracks includes
Citizen Kane, The Man Who
Knew Too Much, Vertigo,
Jason and Argonauts,
Fahrenheit 451, Obsession
and Taxi Driver. He had a
long and fertile
association with Alfred
Hitchcock during the most
productive period of
Hitchcock's career and
with Orson Welles from
the time of the Mercury
Theatre on the Air. In
addition to his
conducting and composing
work for the
entertainment world,
Herrmann wrote concert
pieces, including a
symphony, opera and
cantata.
A Cantata for Holy
Week. Composed by
Joseph M. Martin. Shawnee
Sacred. Cantata, Easter,
Holy Week, Lent. CD.
Duration 2700 seconds.
Published by Shawnee
Press (HL.35031863).
ISBN 9781540006776.
UPC: 888680713324.
5.0x5.0x0.83
inches.
Portraits
in Grace is a musical
gallery of faith
displaying the life,
ministry and passion of
Jesus. Through scripture,
narration and song, the
backdrop is created for
the reflections of the
Lenten season,
particularly during Holy
Week. As the cantata
moves through Christ's
extraordinary life, each
song displays the sacred
beauty of the Savior, and
lingers with His many
graceful acts of love.
The work ends with
Christ's death on the
cross and the bittersweet
beauty of this redemptive
gift to the world. With
options that include the
visual arts, the
presentation can be
expanded to include more
members of your
congregation, taking the
cantata beyond the loft.
A small consort of
instruments is available,
as well. Songs include:
Prelude; Portrait;
Fairest Lord Jesus; The
Healer; Behold the King;
We Remember; A Sacred
Garden; Let Us Gather in
the Shadow of the Cross;
Portrait of the Cross,
Recessional of Shadows.
Score and Parts (fl, cl,
hn, hp, pno, vn, vc)
available as a Printed
Editional and as a
digital download.
Choral (Listening CD) SKU: HL.35031862 A Cantata for Holy Week. Co...(+)
Choral (Listening CD)
SKU: HL.35031862
A Cantata for Holy
Week. Composed by
Joseph M. Martin. Shawnee
Sacred. Cantata, Easter,
Holy Week, Lent. CD.
Duration 2700 seconds.
Published by Shawnee
Press (HL.35031862).
ISBN 9781540006769.
UPC: 888680713317.
5.0x5.0x0.077
inches.
Portraits
in Grace is a musical
gallery of faith
displaying the life,
ministry and passion of
Jesus. Through scripture,
narration and song, the
backdrop is created for
the reflections of the
Lenten season,
particularly during Holy
Week. As the cantata
moves through Christ's
extraordinary life, each
song displays the sacred
beauty of the Savior, and
lingers with His many
graceful acts of love.
The work ends with
Christ's death on the
cross and the bittersweet
beauty of this redemptive
gift to the world. With
options that include the
visual arts, the
presentation can be
expanded to include more
members of your
congregation, taking the
cantata beyond the loft.
A small consort of
instruments is available,
as well. Songs include:
Prelude; Portrait;
Fairest Lord Jesus; The
Healer; Behold the King;
We Remember; A Sacred
Garden; Let Us Gather in
the Shadow of the Cross;
Portrait of the Cross,
Recessional of Shadows.
Score and Parts (fl, cl,
hn, hp, pno, vn, vc)
available as a Printed
Editional and as a
digital download.
SplitTrax CD Choral (Split Trax) SKU: HL.35031861 A Cantata for Holy W...(+)
SplitTrax CD Choral
(Split Trax)
SKU:
HL.35031861
A
Cantata for Holy
Week. Composed by
Joseph M. Martin. Shawnee
Sacred. Cantata, Easter,
Holy Week, Lent. CD.
Duration 2700 seconds.
Published by Shawnee
Press (HL.35031861).
ISBN 9781540006752.
UPC: 888680713300.
5.0x5.0x0.15
inches.
Portraits
in Grace is a musical
gallery of faith
displaying the life,
ministry and passion of
Jesus. Through scripture,
narration and song, the
backdrop is created for
the reflections of the
Lenten season,
particularly during Holy
Week. As the cantata
moves through Christ's
extraordinary life, each
song displays the sacred
beauty of the Savior, and
lingers with His many
graceful acts of love.
The work ends with
Christ's death on the
cross and the bittersweet
beauty of this redemptive
gift to the world. With
options that include the
visual arts, the
presentation can be
expanded to include more
members of your
congregation, taking the
cantata beyond the loft.
A small consort of
instruments is available,
as well. Songs include:
Prelude; Portrait;
Fairest Lord Jesus; The
Healer; Behold the King;
We Remember; A Sacred
Garden; Let Us Gather in
the Shadow of the Cross;
Portrait of the Cross,
Recessional of Shadows.
Score and Parts (fl, cl,
hn, hp, pno, vn, vc)
available as a Printed
Editional and as a
digital download.
45 Timeless Themes from Your Favorite Films (Piano/Vocal). Composed by va...(+)
45 Timeless Themes
from Your Favorite Films
(Piano/Vocal).
Composed by various
composers and arrangers.
This edition:
Piano/Vocal/Guitar. Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords. Best
Songs. Movie. 192 pages.
Published by Alfred Music
(AP.44682).
Part I, II, III and IV. Composed by Alex Poelman. The Best Original Compo...(+)
Part I, II, III and
IV. Composed by Alex
Poelman. The Best
Original Compositions for
Concert Band/Catalogue
Master Works Vol. 1.
Molenaar Masterpieces.
Recorded on The Seven
Wonders of the Ancient
World (ML.311080720).
Full set. Duration 20
minutes, 58 seconds.
Published by Molenaar
Edition (ML.012792100).
For Solo Contrabass. By Bertram Turetzky. Text: Jerome Rothenberg; Solomon Ibn G...(+)
For Solo Contrabass. By
Bertram Turetzky. Text:
Jerome Rothenberg;
Solomon Ibn Gabirol. For
Double Bass Solo. Solo
part. 11 pages. Duration
17:00. Published by
Theodore Presser Company.
String Quartet No.
3. Composed by
Shulamit Ran. Sws.
Contemporary. Full score.
With Standard notation.
Composed March 9 2013. 32
pages. Duration 23
minutes. Theodore Presser
Company #114-41690S.
Published by Theodore
Presser Company
(PR.11441690S).
UPC:
680160626021. 9 x 12
inches.
Ran's third
string quartet was
written for the Pacifica
Quartet, who are
featuring it in numerous
performances from May
2014 through February
2016, across the country
and abroad. Their blog
page dedicated to the
work also features the
composer's notes, for
more indepth insight.
...impassioned solos
emerge from ominous
quiet, and high arpeggios
in the violins quiver
alongside the earthy
cello. Ms. Ran skillfully
deploys these extremes of
color, volume and pitch,
yet the overall somewhat
chilly impression is one
of poise. -- Zachary
Woolfe, The New York
Times. My third string
quartet was composed at
the invitation of the
Pacifica
Quartet, whose
music-making I have come
to know closely and
admire hugely as resident
artists at the University
of Chicago. Already
in our early
conversations Pacifica
proposed that this
quartet might, in some
manner, refer to the
visual arts as a point of
germination. Probing
further, I found out that
the quartet members had
special interest in art
created during the
earlier part of the 20th
century, perhaps between
the two world wars.Â
It was my good fortune to
have met, a short while
later, while in residence
at the American Academy
in Rome in the fall of
2011, art conservationist
Albert Albano who steered
me to the work of Felix
Nussbaum (1904-1944), a
German-Jewish painter
who, like so many others,
perished in the Holocaust
at a young age, and who
left some powerful,
deeply moving art that
spoke to the life that
was unraveling around
him. The title of my
string quartet takes its
inspiration from a major
exhibit devoted to art by
German artists of the
period of the Weimar
Republic (1919-1933)
titled “Glitter and
Doom: German Portraits
from the 1920sâ€,
first shown at New
York’s
Metropolitan Museum of
Art in 2006-07.Â
Nussbaum would have been
a bit too young to be
included in this
exhibit. His most
noteworthy art was
created in the last very
few years of his short
life. The
exhibit’s
evocative title, however,
suggested to me the idea
of “Glitter, Doom,
Shards, Memory†as
a way of framing a
possible musical
composition that would be
an homage to his life and
art, and to that of so
many others like him
during that era.
 Knowing that their
days were numbered, yet
intent on leaving a mark,
a legacy, a memory, their
art is triumph of the
human spirit over
annihilation. Parallel
to my wish to compose a
string quartet that,
typically for this genre,
would exist as
“pure musicâ€,
independent of a
narrative, was my desire
to effect an awareness in
my listener of matters
which are, to me, of
great human concern.
 To my mind there is
no contradiction between
the two goals. Â As in
several other works
composed since 1969, this
is my way of saying
‘do not
forget’, something
that, I believe, can be
done through music with
special power and
poignancy. Â Â The
individual titles of the
quartet’s four
movements give an
indication of some of the
emotional strands this
work explores. 1)
“That which
happened†(das was
geschah) – is how
the poet Paul Celan
referred to the Shoah
– the Holocaust.
 These simple words
served for me, in the
first movement, as a
metaphor for the way in
which an
“ordinaryâ€
life, with its daily flow
and its sense of sweet
normalcy, was shockingly,
inhumanely, inexplicably
shattered. 2)
“Menace†is a
shorter movement,
mimicking a Scherzo.
 It is also
machine-like, incessant,
with an occasional,
recurring, waltz-like
little tune –
perhaps the chilling
grimace we recognize from
the executioner’s
guillotine mask. Â Like
the death machine it
alludes to, it gathers
momentum as it goes, and
is
unstoppable. 3) â
If I must perish - do
not let my paintings
dieâ€; these words
are by Felix Nussbaum
who, knowing what was
ahead, nonetheless
continued painting till
his death in Auschwitz in
1944. Â If the heart of
the first movement is the
shuddering interruption
of life as we know it,
the third movement tries
to capture something of
what I can only imagine
to be the conflicting
states of mind that would
have made it possible,
and essential, to
continue to live and
practice one’s art
– bearing witness
to the events.
 Creating must have
been, for Nussbaum and
for so many others, a way
of maintaining sanity,
both a struggle and a
catharsis – an act
of defiance and salvation
all at the same
time. 4)
“Shards,
Memory†is a direct
reference to my
quartet’s title.
 Only shards are left.
 And memory.  The
memory is of things large
and small, of unspeakable
tragedy, but also of the
song and the dance, the
smile, the hopes. All
things human. Â As we
remember, in the face of
death’s silence,
we restore dignity to
those who are
gone.—Shulamit
Ran .
(Themes from all eight movies). Arranged by Jerry Brubaker. Concert Band. Concer...(+)
(Themes from all eight
movies). Arranged by
Jerry Brubaker. Concert
Band. Concert Band;
Score. Pop Symphonic
Band. Form: Medley.
Movie. Grade 4. 76 pages.
Published by Alfred Music
Publishing
The Complete Harry Potter Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Themes from all eight movies). Arranged by Jerry Brubaker. Concert Band. Concer...(+)
(Themes from all eight
movies). Arranged by
Jerry Brubaker. Concert
Band. Concert Band;
Part(s); Score. Pop
Symphonic Band. Form:
Medley. Movie. Grade 4.
342 pages. Published by
Alfred Music Publishing
SKU: BA.BVK01677 Composed by Gunther Braam. Edited by John Warrack and Ri...(+)
SKU: BA.BVK01677
Composed by Gunther
Braam. Edited by John
Warrack and Richard
Maccnutt. This edition:
Complete edition. Linen.
New Berlioz Edition.
Volume 26. Complete
edition, Book.
Baerenreiter Verlag
#BVK01677_00. Published
by Baerenreiter Verlag
(BA.BVK01677).
ISBN
9783761816776. 27.5 x
19.8 cm inches.
Translation: John
Warrack.
The volume
contains 122 portraits of
Hector Berlioz, including
paintings, medals, busts,
woodcuts, drawings,
lithographs, photographs
and caricatures. It also
presents several doubtful
or spurious
portraits. Each
reproduction is
accompanied by
information on its date,
artist and present
location. This collection
of all known Berlioz
portraits sheds entirely
new light on the life and
surroundings of the great
French composer.
The Portraits of
Hector Berliozis the
first collection of all
the portraits made of
Berlioz during his
lifetime. It ranges from
photographs, formal
paintings and drawings by
way of woodcuts and
lithographs to the many
caricatures which his
striking appearance
attracted. Each picture
is accompanied by a full
description and thorough
documentation of its
location and history,
details of the artist's
career and relationship
with Berlioz, an
explanation of the
circumstances of the
picture's creation, and
much else in the way of
relevant comment. This
documentation also sheds
light on the development
of photography and its
position in the society
of the Second Empire , as
well as on the emphasis
on caricature in the
often satirical
journalism of the day.
Where they contribute to
the appreciation of the
picture, the articles
which the caricatures
illustrate, or extracts
from them, are also
included in an Appendix.
Some of the pictures are
published for the first
time and many for the
first time in colour.
As well as being
fascinating and often
entertaining, the
collection adds to our
understanding of
Berlioz's life, times and
the circumstances in
which his music was
composed and
performed.
Viola and Piano - Grade 4 SKU: HL.14042969 Composed by Benjamin Britten. ...(+)
Viola and Piano - Grade 4
SKU: HL.14042969
Composed by Benjamin
Britten. Arranged by
Martin Outram. Music
Sales America. Classical.
Softcover. Chester Music
#CH81939. Published by
Chester Music
(HL.14042969).
ISBN
9781783053919.
Port
rait No.2 'E.B.B' is
taken from Two Portraits
for Strings composed by
Benjamin Britten . This
fantastic, flowing Viola
solo over, soft, staccato
Piano chords really
expresses a range of
gripping emotions. Here
it is present in a
version arranged for
Viola and Piano by
Martin Outram,
violist of the
Maggini Quartet.
A Tom Sawyer Portrait Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4559-75 Composed by Jarvis. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4559-75
Composed by Jarvis.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR391). Oversized,
spiral-bound score.
Composed 2017. Duration 8
minutes, 13 seconds. Opus
III Wind Orchestra
Publications
#012-4559-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4559-75).
Mark Twain's
colorful characters come
to musical life in A Tom
Sawyer Portrait! The
journey begins in St.
Petersburg, Missouri,
with a jaunty musical
portrayal of Tom and Huck
and a ragtime sequence
which depicts the sleepy
river town. An
Americana-style ballad
follows that is tender,
lyrical and poignant.
This segues into a no
holds barred blues
section representing the
mighty Mississippi. The
Portrait concludes with
our heroes' return,
featuring a recap of the
opening theme augmented
in the brass and
accompanied by woodwind
runs and exciting
percussion. This is a
great selection for the
concert band that demands
solid musicianship but
will reward students for
their efforts!
A Tom Sawyer Portrait Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4559-01 Composed by Jarvis. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4559-01
Composed by Jarvis.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR391). Extra full
score. Composed 2017.
Duration 8 minutes, 13
seconds. Opus III Wind
Orchestra Publications
#012-4559-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4559-01).
Mark
Twain’s colorful
characters come to
musical life in A Tom
Sawyer Portrait! The
journey begins in St.
Petersburg, Missouri,
with a jaunty musical
portrayal of Tom and Huck
and a ragtime sequence
which depicts the sleepy
river town. An
Americana-style ballad
follows that is tender,
lyrical and poignant.
This segues into a no
holds barred blues
section representing the
mighty Mississippi. The
Portrait concludes with
our heroes’
return, featuring a recap
of the opening theme
augmented in the brass
and accompanied by
woodwind runs and
exciting percussion. This
is a great selection for
the concert band that
demands solid
musicianship but will
reward students for their
efforts!