For four-part mixed voices, accompanied. Composed by Donna N. Robertson. Churc...(+)
For four-part mixed
voices,
accompanied. Composed by
Donna N. Robertson.
Church,
Choral. HW Gray. Octavo.
Jubilate Music Group #00-
47234. Published by
Jubilate
Music Group
SATB choir, organ - moderate SKU: PL.1655 Composed by Harold Stover. Gene...(+)
SATB choir, organ -
moderate
SKU:
PL.1655
Composed by
Harold Stover. General.
Octavo. Paraclete Press
#1655. Published by
Paraclete Press
(PL.1655).
A
brief anthem that begins
in quiet mystery and
maintains a contemplative
mood throughout. Stover
underlines the text from
John 4 with a lean
texture and occasional
dissonance, very much in
homage to 20th century
American composers such
as Sowerby and Rorem.
With its emphasis on
worship, this would also
make a fine introit.
String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Oxford University Press
String quartet - Moderately Difficult to Difficult SKU: OU.9780193412552 ...(+)
String quartet -
Moderately Difficult to
Difficult
SKU:
OU.9780193412552
Composed by Anthony
Powers. String Quartets.
Set of parts. 60 pages.
Duration 20'. Oxford
University Press
#9780193412552. Published
by Oxford University
Press (OU.9780193412552).
ISBN 9780193412552. 12
x 8 inches.
This
four-movement work
represents the composer's
desire 'to write a piece
of real chamber music,
intimate and
conversational in tone,
drawing the listener into
its worlds'. The result,
he writes, 'is a rather
inward-looking,
reflective work, not
without a capricious
aspect, but only
occasionally raising its
voice.'.
Violin Solo and piano - early advanced SKU: JK.00753 Composed by Wanda W....(+)
Violin Solo and piano -
early advanced
SKU:
JK.00753
Composed by
Wanda W. Palmer. Arranged
by Kelly D. Anderson.
Difficulty Medium Hard,
Instrumental Violin,
Piano Intermediate,
Comfort, Encouragement,
Faith, Grace, Guidance,
Jesus Christ - Savior,
Scriptures, Trials.
Christian, Inspirational.
Duration 2:45. Jackman
Music Corporation #00753.
Published by Jackman
Music Corporation
(JK.00753).
Isaiah
41:10, Isaiah 43:2-5,
Helaman
5:12.
Violin
solo with piano
accompaniment, arranged
for early-advanced violin
with some double stops
and occasional shift into
3rd position. (previously
listed as
#00665) Arranger:
Kelly D.
Anderson Difficulty:
early
advanced Performance
time: 2:45 Reference:
Isaiah 41:10, Isaiah
43:2-5, Helaman 5:12.
Composed by Traditional
Holiday Song. Edited by
Amy Rosen. Arranged by
Bud Caputo. SWS FS. Carl
Fischer Young String
Orchestra Series. Score
and Parts. With Standard
notation.
16+2+4+16+10+10+3+10+12
pages. Carl Fischer Music
#YAS15. Published by Carl
Fischer Music (CF.YAS15).
ISBN 9780825851995.
UPC: 798408051990. 8.5 X
11 inches. Key: D
minor.
Lower
strings be sure to
maintain a steady pulse
and dont rush the walking
figure at the opening.
When the melody is
transferred to the lower
strings (pick-up to m. 10
and m. 13), play with a
full sound. Be careful of
the balance and allow the
soloist to dominate in
mm. 121. If the soloist
is comfortable using
third position, play mm.
119 and the first half of
m. 20 one octave higher.
All parts should be in a
solid marcato style in
the fast section (m. 22
to the end). In m.50,
Violin I should bring out
the Hava Nagila quote
equal to the volume of
the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and donat
rush the walking figure
at the opening. When the
melody is transferred to
the lower strings
(pick-up to m. 10 and m.
13), play with a full
sound. Be careful of the
balance and allow the
soloist to dominate in
mm. 1a21. If the soloist
is comfortable using
third position, play mm.
1a19 and the first half
of m. 20 one octave
higher. All parts should
be in a solid marcato
style in the fast section
(m. 22 to the end). In
m.50, Violin I should
bring out the Hava Nagila
quote equal to the volume
of the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and don't
rush the walking figure
at the opening. When the
melody is transferred to
the lower strings
(pick-up to m. 10 and m.
13), play with a full
sound. Be careful of the
balance and allow the
soloist to dominate in
mm. 1-21. If the soloist
is comfortable using
third position, play mm.
1-19 and the first half
of m. 20 one octave
higher. All parts should
be in a solid marcato
style in the fast section
(m. 22 to the end). In
m.50, Violin I should
bring out the Hava Nagila
quote equal to the volume
of the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and
don’t rush the
walking figure at the
opening. When the melody
is transferred to the
lower strings (pick-up to
m. 10 and m. 13), play
with a full sound. Be
careful of the balance
and allow the soloist to
dominate in mm.
1–21. If the
soloist is comfortable
using third position,
play mm. 1–19 and
the first half of m. 20
one octave higher.All
parts should be in a
solid marcato style in
the fast section (m. 22
to the end). In m.50,
Violin I should bring out
the Hava Nagila quote
equal to the volume of
the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.String
editing by Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Composed by Sean
O'Loughlin. Young String
Orchestra (YAS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #YAS190F.
Published by Carl Fischer
Music (CF.YAS190F).
ISBN 9781491151921.
UPC: 680160909421. 9 x 12
inches.
As part of
a collaboration between
students and composer,
Sean O'Loughlin, Dark
Dreams is a dark and
mysterious piece that
utilizes techniques such
as tremolo and pizzicato.
Following a slow and
mysterious opening which
illustrates the tapestry
of sound for the
composition, the work
develops the musical
material into various
vivid, intense, and
gripping musical
moments.
Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. <
p class=s4>Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, A
vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
aplaya the silence at m.
88 for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. <
p class=s4>Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, A
vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
aplaya the silence at m.
88 for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. <
p class=s4>Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. D
ark Dreams was
commissioned by the
Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. Dark Dreams
was commissioned by the
Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious,
 vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
“play†the
silence at m. 88 for
maximum effect and really
lean into the final note
even though it is on beat
3 of the measure.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Composed by Matt Turner.
SWS FS. Young String
Orchestra. Set of Score
and Parts. With Standard
notation. 8+8+2+5+5+5+2+8
pages. Carl Fischer Music
#YAS109. Published by
Carl Fischer Music
(CF.YAS109).
ISBN
9780825889264. UPC:
798408089269. 8.5 x 11
inches. Key: B
minor.
Star Lake
conjures up images of a
serene lake in the
central north, early in
the morning. Its
heartfelt melodies and
Americana-style harmonies
evoke the music of
Copland and Bernstein.
What better way to
improve the musicianship
of your ensemble than to
have them play this warm
and inviting piece? An
effective way for your
group to learn
phrase-shaping while
expressing themselves
musically. Star Lake
was composed to capture
the beauty of Star Lake
and its surrounding area
in the north woods of
Wisconsin. This
Americana-style piece
should be performed with
a rich, connected, and
full sound. A solo
section offers performers
the opportunity to
improvise using a D major
scale. A sample solo is
provided.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Clarinet and piano SKU: P2.30137 Composed by Brain Balmages. Solo music, ...(+)
Clarinet and piano
SKU: P2.30137
Composed by Brain
Balmages. Solo music,
20th century. Published
by Potenza Music
(P2.30137).
Dream Sonatina
(2011) was commissioned
by Marguerite Levin,
former principal clarinet
of the Baltimore Opera
Orchestra and professor
of clarinet at Towson
University in Baltimore,
MD. Marguerite asked me
to reflect on recent
experiences encompassing
my 30s. Easily, those
experiences are wrapped
around my two children,
who were both born in
this same decade. The
piece, written in three
movements, captures some
of the unique moments of
early childhood. The
first movement, Daydream,
portrays a sleepy, yet
active little one trying
to interact with the new
world around him. The
second movement, Sweet
Dreams, captures the
peace and tranquility of
two little boys sleeping
in their beds after a fun
and crazy day. The final
movement, Bad Dreams, is
a more aggressive
movement that paints a
picture of the occasional
night terror that
children sometimes
experience. While it is
sinister in nature, it
also strikes a balance
with a lighter playful
quality as these dreams
are never truly
threatening. Dream
Sonatina was premiered on
October 9, 2011 in
Carnegie Hall (Weill
Recital Hall) by
Marguerite Levin
(clarinet) and R. Timothy
McReynolds (piano).
Composed by David Hinds.
Young String Orchestra.
Set of Score and Parts.
With Standard notation.
8+8+2+5+5+5+3+8 pages.
Duration 2:40. Carl
Fischer Music #YAS187.
Published by Carl Fischer
Music (CF.YAS187).
ISBN 9781491151525.
UPC: 680160909025. 9 x 12
inches. Key: G
major.
Escapades?is
an adventurous and
energetic composition
written by David Hinds. A
variety of articulation
styles gives the piece
character. The moving
inner parts will appeal
to every section of the
orchestra, including the
basses. This is a
versatile piece suitable
for concerts,
festivals,?and
contest. Escapades
is an adventurous
and energetic composition
in G major. Pay attention
to staccato marks over
both eighth and quarter
notes. The E-minor
melodic section at m. 37
should be played in a
legato style. The
energetic theme returns
after the melodic section
and has a strong ending
that starts with a
two-measure augmentation
of the last theme. This
is a fairly
straightforward piece,
and there are plenty of
moving parts that appeal
to all sections,
including an interesting
bass part. The indicated
Allegro tempo is
recommended but may be
adjusted according to the
needs of the students.
The piano part is best
used for rehearsal only.
This is a versatile piece
suitable for concerts,
festivals and contests,
and I am sure your
students will enjoy
playing
it. Escapades
A is an adventurous and
energetic composition in
G major. Pay attention to
staccato marks over both
eighth and quarter notes.
The E-minor melodic
section at m. 37 should
be played in a legato
style. The energetic
theme returns after the
melodic section and has a
strong ending that starts
with a two-measure
augmentation of the last
theme. This is a fairly
straightforward piece,
and there are plenty of
moving parts that appeal
to all sections,
including an interesting
bass part. The indicated
Allegro tempo is
recommended but may be
adjusted according to the
needs of the students.
The piano part is best
used for rehearsal only.
This is a versatile piece
suitable for concerts,
festivals and contests,
and I am sure your
students will enjoy
playing it. Escapades
is an adventurous and
energetic composition in
G major. Pay attention to
staccato marks over both
eighth and quarter notes.
The E-minor melodic
section at m. 37 should
be played in a legato
style. The energetic
theme returns after the
melodic section and has a
strong ending that starts
with a two-measure
augmentation of the last
theme. This is a fairly
straightforward piece,
and there are plenty of
moving parts that appeal
to all sections,
including an interesting
bass part. The indicated
Allegro tempo is
recommended but may be
adjusted according to the
needs of the students.
The piano part is best
used for rehearsal only.
This is a versatile piece
suitable for concerts,
festivals and contests,
and I am sure your
students will enjoy
playing
it. Escapades is an
adventurous and energetic
composition in G major.
Pay attention to staccato
marks over both eighth
and quarter notes. The
E-minor melodic section
at m. 37 should be played
in a legato style. The
energetic theme returns
after the melodic section
and has a strong ending
that starts with a
two-measure augmentation
of the last theme. This
is a fairly
straightforward piece,
and there are plenty of
moving parts that appeal
to all sections,
including an interesting
bass part.The indicated
Allegro tempo is
recommended but may be
adjusted according to the
needs of the students.
The piano part is best
used for rehearsal only.
This is a versatile piece
suitable for concerts,
festivals and contests,
and I am sure your
students will enjoy
playing it.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Great Zoological
Fantasy - Urtext.
Composed by Camille
Saint-Saens. Edited by
Peter Jost. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Score and study score
with the lyrics of
Loriot
Symphonic
poem; Romantic;
Late-romantic. Part. 8
pages. Duration 22'.
Breitkopf and Haertel #OB
5321-27. Published by
Breitkopf and Haertel
(BR.OB-5321-27).
ISBN
9790004332757. 10 x 12.5
inches.
... quite
unexpectedly, kangaroos
with starched white caps
start hopping about
between the rows of
seats, offering
refreshments. The Great
Zoological Fantasy was
composed in February 1886
for a carnival concert in
Paris. After the first
concerts, Saint-Saens
prohibited all further
performances and declined
to have the work
published during his
lifetime. He was
justifiably fearful that
this occasional work
could eclipse his more
ambitious pieces. The
present Urtext edition by
Peter Jost is based
chiefly on the autograph,
which diverges in certain
essential points from the
standard first edition
available up to now.
Loriot's well-known text
is printed in the
Appendix to the
score.
Composed by
Doug Spata. Yas. Set of
Score and Parts. Duration
2:20. Carl Fischer Music
#YAS243. Published by
Carl Fischer Music
(CF.YAS243).
ISBN
9781491164952. UPC:
680160923861. Key: E
minor.
Students
will love the dashing
style of Dark Journey as
they get experience with
important
intermediate-level
techniques, such as
off-the-beat eighth
notes, mixed finger
patterns and dotted
rhythms. Each section is
given a turn at the bold
minor melodies and
energetic accompaniments
throughout the piece.
This is a selection that
students will be proud to
share at their
concert.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Organ SKU: ST.C456 Composed by Mark Goddard. Organ music. Clifton Edition...(+)
Organ
SKU: ST.C456
Composed by Mark Goddard.
Organ music. Clifton
Edition #C456. Published
by Clifton Edition
(ST.C456).
ISBN
9790570814565.
This series offers a
range of essential
repertoire, re-arranged
for manuals ONLY, and in
some cases slightly
simplified, yet
maintaining the integral
strength and
effectiveness of the
music. Ideal for the
confirmed pianist, called
upon to act as organist,
sometimes at short
notice!
Organ
solo Former Spartan
Press Cat. No.:
SP606
Titles in
this series: Book 1,
Book 2,
Book 3,
Book 4,
Book 5,
Book 7,
Book 8,
Book 9,
Book
10.
The Collected Lyrics of Kevin Ayers. Composed by Kevin Ayers. Artist/Perso...(+)
The Collected Lyrics of
Kevin Ayers. Composed by
Kevin Ayers.
Artist/Personality;
Personality Book;
Piano/Vocal/Chords. Faber
Edition. Pop; Pop/Rock.
Book. Faber Music #12-
0571541291. Published by
Faber Music
I Shall Love But Thee Fanfare [Conducteur] - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-1175844-120 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1175844-120
Composed by Jan Van der
Roost. Concert and
Contest Collection Brass
Band en Fanfare. Concert
Piece. Score Only.
Composed 2017. 20 pages.
De Haske Publications
#DHP 1175844-120.
Published by De Haske
Publications
(BT.DHP-1175844-120).
English-German-French-
Dutch.
I Shall
Love But Thee is an
occasional work in the
literal sense of the
word, since it was
originally written on the
occasion of the
composer’s
youngest son’s
wedding. The texts, by
William Shakespeare,
inspired Jan Van der
Roost to compose profound
and appealing music,
largely in the style of
Henry Purcell (in the
first part) and Georg
Friedrich Handel (in the
second
part)—although no
literal quotations have
been used. The rather
rare combination of
soprano and fanfare band
makes this piece a unique
addition to the
repertoire!
I
Shall Love But Thee
is in de letterlijke zin
van het woord een
gelegenheidswerk, want
het werd oorspronkelijk
geschreven naar
aanleiding van het
huwelijk van de jongste
zoon van de componist. De
teksten zijn van William
Shakespeare: Jan Van der
Roost werd erdoor ge
nspireerd tot het
creëren van
indringende en
aansprekende muziek, die
in stilistisch opzicht
doet denken aan Henry
Purcell (in het eerste
deel) en Georg Friedrich
Händel (in het tweede
deel), twee componisten
die op teksten van
Shakespeare hebben
gecomponeerd ook al zijn
er geen letterlijke
citaten gebruikt. De vrij
zeldzame combinatie van
sopraan en fanfare maakt
dit werk een unieke
aanwinst voor
hetrepertoire!
I Shall Love
But Thee ist ein
Gelegenheitswerk im
eigentlichen Sinn, denn
der Komponist hat es
ursprünglich aus
Anlass der Hochzeit
seines jüngsten Sohnes
geschrieben. Die Texte
stammen von William
Shakespeare und haben Jan
Van der Roost dazu
inspiriert, eine
tiefgründige und
ansprechende Musik im
Stil der großen
Meister zu komponieren.
Stilistisch erinnert sie
an Henry Purcell (im
ersten Teil) und an Georg
Friedrich Händel (im
zweiten Teil), auch wenn
keine literarischen
Zitate verwendet wurden.
Durch die eher seltene
Kombination von Sopran
und Blasorchester stellt
das Stück eine
einzigartige Bereicherung
für das Repertoire
dar!
Concert Overture No. 1
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Christian
Martin Schmidt.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library).
Christian Martin
Schmidt is laying bare to
musical practice the
original form of
Mendelssohn's
epoch-making Overture to
A Midsummer Night's Dream
buried beneath layers of
falsified material for
the first time.
Overture; Romantic. Set
of parts. 56 pages.
Duration 12'. Breitkopf
and Haertel #OB 5364-30.
Published by Breitkopf
and Haertel
(BR.OB-5364-30).
ISBN
9790004337431. 10 x 12.5
inches.
Autograph
lays bare Mendelssohn's
Overture to A Midsummer
Night's Dream To this
day, Mendelssohns
epoch-making Overture to
A Midsummer Night's Dream
has been performed on the
basis of a more than
dubious transmission.
Neither the first edition
of the parts (1832), and
certainly not the print
of the score based on
these parts (1835) go
back directly to the
autograph of the
17-year-old composer,
which is now located in
Krakow. No wonder, since
Mendelssohn had breezily
given away his original
at an early date. The
result: during his
lifetime, versions were
published with his
authorization, even
though they were full of
unintended
inconsistencies. Yet the
autograph of 1826 is
unequivocal: it is clear,
practically free of
irregularities and
diverges considerably
from the corrupted
printed version.
Christian Martin Schmidt
comes up with
occasionally differing
musical passages, but
above all with logical
and compositionally
compelling performance
instructions, laying bare
to musical practice the
original form buried
beneath layers of
falsified material for
the first
time.
Christian
Martin Schmidt is laying
bare to musical practice
the original form of
Mendelssohn's
epoch-making Overture to
A Midsummer Night's Dream
buried beneath layers of
falsified material for
the first time.
By Giacomo Puccini (1858-1924). Arranged by Giuseppe Frugatta. For Piano, 4 hand...(+)
By Giacomo Puccini
(1858-1924). Arranged by
Giuseppe Frugatta. For
Piano, 4 hands. This
edition: paperbound. SC
55. Piano/Vocal score.
Language: all languages.
32 pages. Duration 16 min
I Shall Love But Thee Fanfare [Conducteur et Parties séparées] - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-1175844-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1175844-020
Composed by Jan Van der
Roost. Concert and
Contest Collection Brass
Band en Fanfare. Concert
Piece. Set (Score &
Parts). Composed 2017. De
Haske Publications #DHP
1175844-020. Published by
De Haske Publications
(BT.DHP-1175844-020).
English-German-French-
Dutch.
I Shall
Love But Thee is an
occasional work in the
literal sense of the
word, since it was
originally written on the
occasion of the
composer’s
youngest son’s
wedding. The texts, by
William Shakespeare,
inspired Jan Van der
Roost to compose profound
and appealing music,
largely in the style of
Henry Purcell (in the
first part) and Georg
Friedrich Handel (in the
second
part)—although no
literal quotations have
been used. The rather
rare combination of
soprano and fanfare band
makes this piece a unique
addition to the
repertoire!
I
Shall Love But Thee
is in de letterlijke zin
van het woord een
gelegenheidswerk, want
het werd oorspronkelijk
geschreven naar
aanleiding van het
huwelijk van de jongste
zoon van de componist. De
teksten zijn van William
Shakespeare: Jan Van der
Roost werd erdoor ge
nspireerd tot het
creëren van
indringende en
aansprekende muziek, die
in stilistisch opzicht
doet denken aan Henry
Purcell (in het eerste
deel) en Georg Friedrich
Händel (in het tweede
deel), twee componisten
die op teksten van
Shakespeare hebben
gecomponeerd ook al zijn
er geen letterlijke
citaten gebruikt. De vrij
zeldzame combinatie van
sopraan en fanfare maakt
dit werk een unieke
aanwinst voor
hetrepertoire!
I Shall Love
But Thee ist ein
Gelegenheitswerk im
eigentlichen Sinn, denn
der Komponist hat es
ursprünglich aus
Anlass der Hochzeit
seines jüngsten Sohnes
geschrieben. Die Texte
stammen von William
Shakespeare und haben Jan
Van der Roost dazu
inspiriert, eine
tiefgründige und
ansprechende Musik im
Stil der großen
Meister zu komponieren.
Stilistisch erinnert sie
an Henry Purcell (im
ersten Teil) und an Georg
Friedrich Händel (im
zweiten Teil), auch wenn
keine literarischen
Zitate verwendet wurden.
Durch die eher seltene
Kombination von Sopran
und Blasorchester stellt
das Stück eine
einzigartige Bereicherung
für das Repertoire
dar!
A 25-Minute Musical, Celebrating the Traditional Christmas Story (Kit). C...(+)
A 25-Minute Musical,
Celebrating the
Traditional Christmas
Story (Kit). Composed
by Sally K. Albrecht.
This edition: CD Kit.
Book; CD; Christian
Elementary Musical;
Classroom/Pre-School;
Musicals; Reproducible.
Christmas; Sacred;
Winter. 64 pages.
Published by Alfred Music
(AP.41832).
The Mask Orchestre à Cordes [Conducteur et Parties séparées] Carl Fischer
Composed by David Hinds. Score and part(s). With Standard notation. 8 70 pages...(+)
Composed by David Hinds.
Score and part(s). With
Standard notation. 8 70
pages. Duration 2
minutes, 22 seconds. Carl
Fischer #YAS0155.
Published by Carl Fischer
(CF.YAS155).
Composed
by Various. Arranged by
Kathryn Griesinger. Yas.
Full score. Duration 2
minutes, 12 seconds. Carl
Fischer Music #YAS240F.
Published by Carl Fischer
Music (CF.YAS240F).
ISBN 9781491165324.
UPC:
680160924233.
This
graceful arrangement
elegantly weaves together
four classic winter
melodies: Waltz of the
Snowflakes from
Tchaikovsky's Nutcracker
Suite, Skater's Waltz by
Émile Waldteufel, In
the Bleak Midwinter by
Gustav Holst, and Winter
from The Four Seasons by
Antonio Vivaldi. Scored
in 3/4 time with a
consistent tempo
throughout, the piece
allows every section of
the orchestra to shine
with melodic material.
The softly joyful key of
D major with optional
harp (playable by piano)
and glockenspiel will add
a moment of classical
lightness to any winter
or holiday concert.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Composed by Bud Woodruff.
Young String Orchestra.
Set of Score and Parts.
With Standard notation.
8+8+2+5+5+5+3+8 pages.
Duration 2 minutes, 43
seconds. Carl Fischer
Music #YAS156. Published
by Carl Fischer Music
(CF.YAS156).
ISBN
9781491143681. UPC:
680160901180. Key: G
major.
Adoration is
a tuneful, joyous piece
that students will love
to play. Every section of
the young orchestra gets
a chance to shine in this
well-written piece. While
it has good audience
appeal, it is designed to
allow the teacher to
focus on sound
production, ensemble
playing, and
tuning. Adoration is
an upbeat piece with
which I had a lot of fun
writing and then
preparing with my
students. While it has
good audience appeal, it
is designed to allow the
teacher to focus on sound
production, ensemble
playing and tuning.The
piece is straightforward
with no hidden traps.
While there is a clear
change of mood in the
middle section, the pulse
should remain constant
and steady. In order to
properly accomplish the
accents sprinkled
throughout the piece,
bows must be
“set†on the
strings, never
dropped.Thank you for
using this
piece.—Bud
Woodruff.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Voice(s) with various inst. SKU: BR.MR-1910 From the Cantatas, Masses,...(+)
Voice(s) with various
inst.
SKU:
BR.MR-1910
From
the Cantatas, Masses,
Oratorios. Composed
by Johann Sebastian Bach.
Voice; Softcover. Musica
Rara.
The MUSICA RARA
edition of Bach's
collected arias presents
an authentic musical text
which follows the
principal sources in
phrasing and
articulation.
Aria;
Symphony; Baroque. Score.
54 pages. Breitkopf and
Haertel #MR 1910.
Published by Breitkopf
and Haertel (BR.MR-1910).
ISBN 9790004485057. 9
x 12 inches.
In the
vocal oeuvre of Johann
Sebastian Bach, the arias
scored for obbligato
flute, for two flutes or
for oboe constitute a
dazzlingly varied
repertoire. Treated on an
equal footing with the
vocal part, the obbligato
parts assume solo duties
in many pieces. The most
demanding solo passages
composed for these
instruments in the 18th
century are occasionally
hidden in Bachs
arias.
The MUSICA
RARA edition of Bach's
collected complete arias
and sinfonias presents an
authentic musical text
which follows the
principal sources in
phrasing and
articulation.