Chimes Of Freedom Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Concert band - Grade 2 SKU: CL.024-4595-00 Young Concert Band. Rising Ban...(+)
Concert band - Grade 2
SKU:
CL.024-4595-00
Young
Concert Band. Rising Band
Series for Developing
Bands! Audio recording
available separately
(item CL.WFR393). Score
and set of parts.
Composed 2017. Duration 2
minutes, 37 seconds. C.L.
Barnhouse #024-4595-00.
Published by C.L.
Barnhouse
(CL.024-4595-00).
A march written
in a tradition form and
style, Chimes Of Freedom
is suitable for concert
and festival performance,
as well as patriotic and
ceremonial events
throughout the year. The
chimes are featured
throughout as they
interact with the melodic
lines presented in the
wind sections. Accessible
to most developing bands
in their second and third
year of instruction,
Chimes Of Freedom is an
instant classic and
standard in the band
repertoire!
Chimes Of Freedom Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Concert band - Grade 2 SKU: CL.024-4595-01 Young Concert Band. Rising Ban...(+)
Concert band - Grade 2
SKU:
CL.024-4595-01
Young
Concert Band. Rising Band
Series for Developing
Bands! Audio recording
available separately
(item CL.WFR393). Extra
full score. Composed
2017. Duration 2 minutes,
37 seconds. C.L.
Barnhouse #024-4595-01.
Published by C.L.
Barnhouse
(CL.024-4595-01).
A march written
in a tradition form and
style, Chimes Of Freedom
is suitable for concert
and festival performance,
as well as patriotic and
ceremonial events
throughout the year. The
chimes are featured
throughout as they
interact with the melodic
lines presented in the
wind sections. Accessible
to most developing bands
in their second and third
year of instruction,
Chimes Of Freedom is an
instant classic and
standard in the band
repertoire!
By Bob Dylan. By Bob Dylan. Arranged by Don Giller and Ed Lozano. Music Sales Am...(+)
By Bob Dylan. By Bob
Dylan. Arranged by Don
Giller and Ed Lozano.
Music Sales America.
Folk, Pop, Rock.
Softcover. Composed 2016.
788 pages. Music Sales
#AM978923. Published by
Music Sale
The Legend of Flathead Lake Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000447-010 Composed by Carl W...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000447-010
Composed by Carl
Wittrock. Set (Score &
Parts). 174 pages.
Gobelin Music
Publications #GOB
000447-010. Published by
Gobelin Music
Publications
(BT.GOB-000447-010).
In Scotland,
the monster of Loch Ness
is a hot issue, but the
American state of Montana
enjoys a comparable
phenomenon going by the
name of Montana
Nessie. In the
western part of this
remote state lies
Flathead Lake: a lake of
45 kilometres /38miles in
lenght and 24 kilometres
/15 miles breath. At
several places, its depth
exeeds 100
metres. Nessies
discovery takes us back
to the year 1889, when
captain James Kerr aboard
the passengership
U.S.Grant was startled by
a ship unknown to
himsuddenly approaching
his vessel across
Flathead Lake.
However, it turned
out not to be a ship but
an undefinable animal of
immense size.From that
moment onwards, life
would never be the same
again in and around
Flathead Lake. The
composer wasinspired by
the story, and summarized
the events into a
symphonic poem, but from
a surprising angle:that
of the monster.
The exiting opening
allows us to follow the
monster in its natural
surroundings. The fast
follow-up movement
depictsMontana Nessie
trotting and frolicking
about the Montana woods
and prairies.From its
abode, it thorougly
enjoys everything around
it. This period abruptly
ends in a short climax
(Chimes). The solo
for cor anglais marks a
new period in themonsters
life.The presence of
people has a paralizing
effect and the
apprehensive atmosphere
of the slow movement may
be felt
profoundly. The
monster observes and
mildly teases the ship.
Abhor sounds force the
ship to a
withdrawal. The
movingmusical
continuation depicts the
triumphant monster
dancing an ironic
waltz. The monsters
fear and anger at the
intrusion of his freedom
run through the piece
like continuous threads,
and develop into the
works final
theme.
Ook Amerika
kent, in navolging van
Loch Ness, haar monster
met alle sterke verhalen
eromheen. Dit Amerikaanse
monster werd in 1889 voor
het eerst gezien door de
kapitein van een
toeristenboot, varende op
Flathead Lake in de staat
Montana. Wittrock
schildert niet enkel de
gebeurtenissen maar
kruipt in de huid van het
monster.
Het
programmatische werk
beschrijft op vaak
ontroerende en soms
angstaanjagende wijze het
leven van Montana Nessie.
Aanknopingspunten in
dit werk zijnde geboorte
(het begin), de eerste
levensfase met oerkreten
(allegro) en de
verwondering en
bewondering van de natuur
(hobosolo). Het
tweede gedeelte
symboliseert de spanning
tussen mens en monster
tijdens de spannende
boottocht op
FlatheadLake. Het
derde deel brengt het
monster aan het dansen in
een aandoenlijke wals vol
ironie en zelfspot. Rode
draad en afsluitend thema
is de angst en boosheid
van Montana Nessie op de
vrijheidsinbreuk. Een
meesterwerk!
Dit
werk isopgenomen in het
Klein repertorium,
harmonie - 2e
divisie
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000447-140 Composed by Carl W...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000447-140
Composed by Carl
Wittrock. Score Only. 30
pages. Gobelin Music
Publications #GOB
000447-140. Published by
Gobelin Music
Publications
(BT.GOB-000447-140).
In Scotland,
the monster of Loch Ness
is a hot issue, but the
American state of Montana
enjoys a comparable
phenomenon going by the
name of Montana
Nessie. In the
western part of this
remote state lies
Flathead Lake: a lake of
45 kilometres /38miles in
lenght and 24 kilometres
/15 miles breath. At
several places, its depth
exeeds 100
metres. Nessies
discovery takes us back
to the year 1889, when
captain James Kerr aboard
the passengership
U.S.Grant was startled by
a ship unknown to
himsuddenly approaching
his vessel across
Flathead Lake.
However, it turned
out not to be a ship but
an undefinable animal of
immense size.From that
moment onwards, life
would never be the same
again in and around
Flathead Lake. The
composer wasinspired by
the story, and summarized
the events into a
symphonic poem, but from
a surprising angle:that
of the monster.
The exiting opening
allows us to follow the
monster in its natural
surroundings. The fast
follow-up movement
depictsMontana Nessie
trotting and frolicking
about the Montana woods
and prairies.From its
abode, it thorougly
enjoys everything around
it. This period abruptly
ends in a short climax
(Chimes). The solo
for cor anglais marks a
new period in themonsters
life.The presence of
people has a paralizing
effect and the
apprehensive atmosphere
of the slow movement may
be felt
profoundly. The
monster observes and
mildly teases the ship.
Abhor sounds force the
ship to a
withdrawal. The
movingmusical
continuation depicts the
triumphant monster
dancing an ironic
waltz. The monsters
fear and anger at the
intrusion of his freedom
run through the piece
like continuous threads,
and develop into the
works final
theme.
Ook Amerika
kent, in navolging van
Loch Ness, haar monster
met alle sterke verhalen
eromheen. Dit Amerikaanse
monster werd in 1889 voor
het eerst gezien door de
kapitein van een
toeristenboot, varende op
Flathead Lake in de staat
Montana. Wittrock
schildert niet enkel de
gebeurtenissen maar
kruipt in de huid van het
monster.
Het
programmatische werk
beschrijft op vaak
ontroerende en soms
angstaanjagende wijze het
leven van Montana Nessie.
Aanknopingspunten in
dit werk zijnde geboorte
(het begin), de eerste
levensfase met oerkreten
(allegro) en de
verwondering en
bewondering van de natuur
(hobosolo). Het
tweede gedeelte
symboliseert de spanning
tussen mens en monster
tijdens de spannende
boottocht op
FlatheadLake. Het
derde deel brengt het
monster aan het dansen in
een aandoenlijke wals vol
ironie en zelfspot. Rode
draad en afsluitend thema
is de angst en boosheid
van Montana Nessie op de
vrijheidsinbreuk. Een
meesterwerk!
Dit
werk isopgenomen in het
Klein repertorium,
harmonie - 2e
divisie
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
Cello and orchestra (3
(3. auch Picc.) * 0 * 2 *
Bassklar. * 2 - 3 * 0 * 0
* 0 - P. S. (Crot. *
Marimba * kl. Trgl. * m.
u. gr. Hangebeck. * Tamt.
* Tomt. * gr. Tr. *
Chimes * Clav. * Woodbl.)
(2 Spieler) - Str. (gross
besetzt)) - advanced
SKU: HL.49019901
For Violoncello and
Orchestra. Composed
by Enjott Schneider. This
edition: Saddle
stitching. Sheet music.
String. Softcover.
Composed 2011. 68 pages.
Duration 25'. Schott
Music #ED21667. Published
by Schott Music
(HL.49019901).
ISBN
9790001196611.
9.25x12.0x0.186
inches.
Enjott
Schneider's Concerto for
violoncello takes up the
Sumerian legend of the
bird deity 'Dugud' in
archaic scenes. Legend
has it that Princess
Emeshe was impregnated by
the hermaphrodite - half
eagle, half falcon - in a
dream and founded with
her son Almos, who had
thus been conceived, the
royal Hungarian
dynasty.In expressive
musical pictures,
Schneider describes the
dark-erotic struggle of
impregnation as well as
the chant of the unborn.
Hovering above everything
is the vision of life in
complete freedom like a
bird.The work was
premiered by the
Hungarian cellist Laszlo
Fenyo in 2011. Thanks to
the piano score written
by the composer, the work
can now also be studied
and performed by a
duo.