| Three Pieces for Euphonium and Piano Euphonium, Piano (duo) [Partie seule] - Intermédiaire/avancé Cherry Classics
By Edward Elgar (1857-1934). Arranged by Ralph Sauer. For Euphonium and Piano. R...(+)
By Edward Elgar
(1857-1934). Arranged by
Ralph Sauer. For
Euphonium and Piano.
Romantic, British.
Advanced. Solo part and
piano accompaniment.
Published by Cherry
Classics
$22.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Three Pieces for Euphonium and Piano Euphonium, Piano (duo) - Avancé Cherry Classics
Composed by Johannes Brahms (1833-1897). Arranged by Ralph Sauer. Romantic Germa...(+)
Composed by Johannes
Brahms (1833-1897).
Arranged by Ralph Sauer.
Romantic German Solo.
Solo part and piano
accompaniment. Published
by Cherry Classics
(CY.CC2757).
$25.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Three Pieces for Euphonium and Piano Euphonium, Piano (duo) - Avancé Cherry Classics
Euphonium and Piano - advanced SKU: CY.CC2727 Composed by Vincent d'Indy....(+)
Euphonium and Piano -
advanced SKU:
CY.CC2727 Composed by
Vincent d'Indy. Arranged
by Ralph Sauer. French
Impressionist. Solo part
and piano accompaniment.
Published by Cherry
Classics (CY.CC2727).
Paul Marie
Theodore Vincent d'Indy
was born in Paris into an
aristocratic family of
royalist and Catholic
persuasion. He had piano
lessons from an early age
from his paternal
grandmother, who passed
him on to Antoine
François Marmontel
and Louis Diemer. His
main influence was Cesar
Franck. These three
pieces were some of his
many works for Piano.
Opus 33 was inspired by a
trip to Bayreuth, the
musical home of Wagner
and the Black Forest
region. Opus 33 no. 1
from 1889 is titled ?
with no explanation of
itself. Opus 33 no. 10 is
titled Lermoos, which is
a delightful skiing
village in Austria right
on the border with
Germany. Germany's
largest mountain is in
perfect view, possibly
giving the movement its
spirit. Opus 28 is a
Serenade for Violin and
Piano published in 1900.
It is lithe, subtle and
lyrical. $25.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Three Pieces for Euphonium and Piano Euphonium, Piano (duo) - Avancé Cherry Classics
Euphonium & piano - Advanced SKU: CY.CC2633 Composed by Gabriel Pierne. A...(+)
Euphonium & piano -
Advanced SKU:
CY.CC2633 Composed by
Gabriel Pierne. Arranged
by Ralph Sauer. French.
Solo part and piano
accompanimenet. Published
by Cherry Classics
(CY.CC2633).
Gabriel Pierne
was a composer and
conductor who studied
with Franck and Massenet.
His music is typically in
the French style,
exhibiting charm, clear
technique and beauty of
melodic line. The Three
Pieces are titled: 1.
Serenade, Opus 7; 2.
Piece in F minor; 3.
March of the Tin
Soldiers. This suite is
suitable for advanced
performers and will add a
lovely charm to your
recital or concert. Mr.
Sauer has produced a very
fine suite made up of
exquisite gems from
Monsieur Piernes pen. $25.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Trois Gymnopedies for Euphonium and Piano Euphonium, Piano (duo) - Avancé Cherry Classics
By Erik Satie (1866-1925). Arranged by Ralph Sauer. For euphonium and piano. Fre...(+)
By Erik Satie
(1866-1925). Arranged by
Ralph Sauer. For
euphonium and piano.
French Impressionist.
Advanced. Solo part and
piano accompaniment.
Published by Cherry
Classics
$22.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Five Divertimenti for Euphonium Trio 3 Euphoniums [Conducteur et Parties séparées] - Avancé Cherry Classics
Euphonium Trio - Advanced SKU: CY.CC3070 Composed by Wolfgang Amadeus Moz...(+)
Euphonium Trio - Advanced
SKU: CY.CC3070
Composed by Wolfgang
Amadeus Mozart. Arranged
by Ralph Sauer.
Classical. Score and
Parts. Cherry Classics
#CC3070. Published by
Cherry Classics
(CY.CC3070). ISBN
9790530110478. 8.5 x 11
in inches. The Five
Divertimenti K. 439b
consists of 25 pieces
originally scored for two
clarinets or basset horns
and bassoon. It is
assumed that Mozart wrote
these works for the
Stadler brothers, Anton
(famous for the Clarinet
Concerto) and Johann.
Originally scored in C
major (Mr. Sauer has
arranged them in keys
that are more suitable
for the Euphonium), the
25 pieces were grouped
into five movements each.
The styles of the
movements include
Sonata-allegro, Minuet
and Trio, Larghetto,
Adagio, Rondo and even a
Polonaise. This
collection of the Five
Divertimenti is an
immense amount (about 45
minutes and 120 pages
total) of very
entertaining music, all
beautifully arranged by
Ralph Sauer for three
advanced performers. The
third part may be
performed on the
Tuba. $37.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Two Pieces from Opus 11 for Euphonium & Piano Euphonium, Piano (duo) - Avancé Cherry Classics
Euphonium & Piano - advanced SKU: CY.CC2974 Composed by Jules Massenet. A...(+)
Euphonium & Piano -
advanced SKU:
CY.CC2974 Composed by
Jules Massenet. Arranged
by Ralph Sauer. French
Romantic. Solo part and
Piano accompaniment. 12
pages. Cherry Classics
#2974. Published by
Cherry Classics
(CY.CC2974). ISBN
9790530057933. Mass
enet's Three Pieces for
Piano, Four Hands Opus 11
was published in 1867.
Two of the pieces were
adapted for Cello in
1877. Mr. Sauer has
arranged these two pieces
for Euphonium bass clef
and Piano: 1. Andante
sostenuto 2.
Allegretto vivo
scherzando The
Andante is flowing and
lyrical with the
Allegretto being a lively
6/8 dance in A-B-A
form. The two
movements total about 5
minutes and are
appropriate for advanced
performers. $25.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Milori Blue Euphonium, Piano (duo) Potenza Music
Composed by Jonathan Newman. For Euphonium and Piano. Chamber music, 20th centur...(+)
Composed by Jonathan
Newman. For Euphonium and
Piano. Chamber music,
20th century. Published
by Potenza Music
$39.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mozart : Adagio and Rondo Euphonium, Piano (duo) [Conducteur et Parties séparées] - Avancé Winwood Music
By Wolfgang Amadeus Mozart. Arranged by Wilby/Childs. Solo. For Euphonium & Pian...(+)
By Wolfgang Amadeus
Mozart. Arranged by
Wilby/Childs. Solo. For
Euphonium & Piano. Two
varied movements
illustrate the
flexibility of the
instrument. Classical.
Level: Advanced. Piano
score and parts. Standard
Notation. Duration 8:00.
Published by Winwood
Music (U.K. Import).
$23.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Three Pieces for Tuba Tuba-Euphonium Press
| | |
| A Festive Christmas Trombone ou Euphonium et Piano [Partition + CD] - Intermédiaire De Haske Publications
Trombone/Euphonium and Piano - intermediate SKU: BT.DHP-1104958-400 Fo...(+)
Trombone/Euphonium and
Piano - intermediate
SKU:
BT.DHP-1104958-400
For Trombone /
Euphonium and Organ or
Piano. Arranged by
Jacob De Haan and Jan de
Haan. Book with CD.
Composed 2010. 44 pages.
De Haske Publications
#DHP 1104958-400.
Published by De Haske
Publications
(BT.DHP-1104958-400).
ISBN 9789043134415.
9x12 inches.
English-German-French-Dut
ch. The twelve
pieces in A Festive
Christmas have been
arranged for various wind
instruments - providing
that brilliant sheen, so
apt at Christmas time.
The pieces can be
performed with organ or
piano accompaniment. Jan
and Jacob de Haan looked
at many different sources
for their inspiration:
three pieces were chosen
from Handel's oratorios,
as well as traditional
Christmas carols, and two
Christmas medleys. Every
holiday concert will
benefit from that special
something these dazzling
carols
provide.
Het
gloedvolle geluid van
blaasinstrumenten past
zonder meer perfect in de
kersttijd. De twaalf
werken uit deze klassieke
kerstmuziekverzameling
zijn voor verschillende
instrumenten
gearrangeerd. Ze zijn
naar wens met piano of
orgel uit voeren.
Debegeleiding staat ook
op de bijgevoegde cd voor
het geval er geen pianist
of organist voorhanden
is. Inhoud: Comfort Ye
My People • Ich
steh an deiner Krippen
hier • Vom Himmel
hoch, da komm ich her
• Drei Könige (2
variaties) • Es ist
ein Rosentsprungen
• See Amid the
Winters Snow •
Tochter Zion • He
Shall Feed His Flock
• While Shepherds
Watched Their Flocks
• The Spirit of
Christmas (medley)
• Infant Holy,
Infant Lowly • Eine
kleine Weihnachtsmusik
(medley)
Die
zwölf Stücke dieser
Weihnachtsmusik-Sammlung
wurden für
verschiedene
Blasinstrumente
arrangiert mit dem
Klavier oder je nach
Anlass und
Aufführungsort der
Orgel als Begleitung.
Inhalt: Comfort Ye My
People • Ich steh
an deiner Krippenhier
• Vom Himmel hoch,
da komm ich her •
Drei Könige (2
Variationen) • Es
ist ein Ros entsprungen
• See Amid the
Winter´ s Snow •
Tochter Zion • He
Shall Feed His Flock
• While Shepherds
Watched Their Flocks
• The Spirit of
Christmas (Medley)
•Infant Holy,
Infant Lowly • Eine
kleine Weihnachtsmusik
(Medley).
Les
douze noëls
rassemblés dans ce
recueil ont été
arrangés par Jan et
Jacob de Haan. La version
papier des
accompagnements
d´orgue est jointe au
recueil. Sommaire : Ye
My People • Ich
steh an deiner Krippen
hier • Vom Himmel
hoch, da komm ich
her• Drei Könige
(2 Variationen) •
Es ist ein Ros
entsprungen • See
Amid the Winter´s Snow
• Tochter Zion
• He Shall Feed His
Flock • While
Shepherds Watched Their
Flocks • The Spirit
of Christmas (Medley)
• Infant Holy,
Infant Lowly • Eine
kleineWeihnachtsmusik
(Medley). $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Three Pieces from Suite Espanola for Euphonium and Piano Euphonium, Piano (duo) Cherry Classics
Composed by Isaac Albeniz (1860-1909). Arranged by Ralph Sauer. Spanish. Solo pa...(+)
Composed by Isaac Albeniz
(1860-1909). Arranged by
Ralph Sauer. Spanish.
Solo part & piano
accompaniment. Published
by Cherry Classics
(CY.CC2570).
$27.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Kendor Master Repertoire - Baritone B.C. Saxhorn basse ou Euphonium ou Tuba et Piano - Intermédiaire Kendor Music Inc.
Composed by Various. Arranged by Donald M. Sherman. For Baritone B.C. Solo with ...(+)
Composed by Various.
Arranged by Donald M.
Sherman. For Baritone
B.C. Solo with Piano
Accompaniment. Grade 4.
Score and part. Published
by Kendor Music Inc
$20.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Music for Christmas - Weihnachtsmusik - pour Noël [Conducteur et Parties séparées] EMB (Editio Musica Budapest)
Chamber Ensemble SKU: BT.EMBZ14946 With optional combinations of instr...(+)
Chamber Ensemble SKU:
BT.EMBZ14946 With
optional combinations of
instruments - mit
variabler Besetzung.
By András Soós. EMB
Ad Libitum. Educational
Tool. Set (Score &
Parts). Composed 2015.
102 pages. Editio Musica
Budapest #EMBZ14946.
Published by Editio
Musica Budapest
(BT.EMBZ14946).
Hungarian-English-Germ
an-French. The
volumes of the Ad libitum
series contain duos,
trios and quartets of
easy, medium and advanced
levels of difficulty,
which are playable with
various combinations of
instruments. Ad libitum
Family Edition volumes
are recommended mainly
for families or groups of
friends where at least
three people play an
instrument. Each of the
pieces included can be
performed using flexible
instrumentation, whether
there are three, four or
even five persons who
would like to play
together. This volume
contains the finest of
easily playable pieces
for Christmas and Advent.
Some can include a
singer, so that a vocal
part appears with the
instrumental ones. At
least two melodic and
oneaccompanying
instruments are required
to perform the piecesPart
I - violin / descant
recorder / flute / oboe /
clarinet / soprano
saxophone / trumpetPart
II - violin / treble
recorder / clarinet /
trumpetAccompaniment-
piano / guitarAny of the
following optional parts
can be addedVoice (ad
libitum)Percussion (ad
libitum)Bass (ad
libitum)- cello / bassoon
/ euphonium
Die
Bände der Serie Ad
libitum enthalten
leichte, mittelschwere
sowie für
Fortgeschrittene
geeignete Duos, Trios und
Quartette variabler
Besetzung. Die Bände
von Ad libitum
Familienedition sind vor
allem Familien und
Freundeskreisen zu
empfehlen, in denen
mehrere auf einem
beliebigen Instrument
spielen. Sämtliche
Stücke lassen sich in
vielfältiger Besetzung
spielen, ganz gleich, ob
man zu dritt, zu viert
oder zu fünft
musizieren möchte.
Dieser Band wurde aus den
schönsten, aber leicht
zu spielenden Advents-
und Weihnachtsstücken
zusammengestellt, zu
denen sich teilweise auch
eine Singstimme gesellen
kann. Deshalb wurde dem
Stimmenmaterial der
Instrumente auch Noten
fürdie Singstimme
beigefügt. $26.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Compatible Trios for Winds (Trombone / Euphonium B.C. / Bassoon) Carl Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Trombone
/ Euphonium B.C. /
Bassoon. Compatible Trios
for Winds. Part book. 48
pages. Published by Carl
Fischer
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Compatible Trios for Winds (Clarinet / Trumpet / Euphonium T.C. / Tenor Saxophone in Bb) Instrumentation Flexible Carl Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Clarinet
/ Trumpet / Euphonium
T.C. / Tenor Saxophone in
Bb. Compatible Trios for
Winds. Part book. 48
pages. Published by Carl
Fischer
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Billy Goats Gruff Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Curnow Music
By Amy Adam and Mike Hannickel. Score and Parts. Curnow Concert Band Full Set. G...(+)
By Amy Adam and Mike
Hannickel. Score and
Parts. Curnow Concert
Band Full Set. Grade 1.
Softcover with CD
$40.00 $38 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Acadia [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Everglades (River of Grass) [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Comfort Ye and Every Valley (from Messiah) Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba Eighth Note Publications
(Trombone/Euphonium Feature). By George Frideric Handel (1685-1759). Arranged by...(+)
(Trombone/Euphonium
Feature). By George
Frideric Handel
(1685-1759). Arranged by
David Marlatt. For Brass
Quintet. Brass Ensemble -
Quintet; Masterworks.
Trombone/Euphonium
feature. Baroque,
Christmas. Duration
00:02:30
$17.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 6 [Conducteur] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU:
PR.16500104F Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F). ISBN
9781491132159. UPC:
680160681082. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fantasy Pieces, op. 73 Cherry Classics
Euphonium and piano SKU: CY.CC2898 Composed by Robert Schumann. Arranged ...(+)
Euphonium and piano
SKU: CY.CC2898
Composed by Robert
Schumann. Arranged by
Ralph Sauer. Score and
individual part. Cherry
Classics #CC2898.
Published by Cherry
Classics (CY.CC2898).
There are three
movements in Fantasy
Pieces that make up
Robert Schumann’s
Opus 73. Completed in
1849, he linked each
piece harmonically. He
directs the performers to
follow on to the next
section, indicating that
these movements were
intended as a whole. From
a mood of delicate
expression, through
eloquent and lively, to
fiery and urgent, this is
a compelling and
intriguing work. The
Fantasy Pieces are full
of Romanticism and
thoughtfulness to make it
an important and
entertaining
work.
This version
has been skillfully
arranged for Euphonium
and Piano by Ralph Sauer,
retired Principal
Trombonist of the Los
Angeles Philharmonic and
is appropriate for
advanced performers. $25.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Weekends Potenza Music
Clarinet and bassoon SKU: P2.30081 Composed by Reed Hanna. Chamber music,...(+)
Clarinet and bassoon
SKU: P2.30081
Composed by Reed Hanna.
Chamber music, 20th
century. Published by
Potenza Music (P2.30081).
American
bassoonist and composer
Reed Hanna has a growing
catalog of works for
various ensemble mediums
including wind band,
woodwind and brass
quintets, instrumental
solo and chamber
repertoire, and pieces
for euphonium quartet.
Weekends, a duet for
clarinet and bassoon, is
a whimsical set of three
movements entitled
Friday, Saturday (AM) and
Saturday (PM). $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| First Concert Folio Orchestre d'harmonie [Partition + CD] - Débutant Carl Fischer
Pieces for Grade 1 Bands - Full Score with Piano Reduction and CD. By Andrew Bal...(+)
Pieces for Grade 1 Bands
- Full Score with Piano
Reduction and CD. By
Andrew Balent, Johann
A.P. Schulz, James
Pierpont. Edited by
Andrew Balent, Joseph
Compello. Arranged by
Andrew Balent; Joseph
Compello. For Flute,
Oboe, Clarinet, Alto
Saxophone, Bass Clarinet,
Euphonium, Tenor
Saxophone, Trumpet, Horn,
Tenor, Bassoon, Tuba,
Percussion. Sounds
Spectacular. Score and
Audio CD. 76 pages.
Published by Carl
Fischer.
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