| full score to Concertino For Three Brass (solo trumpet, trombone and tuba) [Werle] dif [Conducteur] Bourne Music Co.
| | |
| Concertino Tuba-Euphonium Press
By Gregory Fritze. Arranged by Gregory Fritze. Solo. For Euphonium Solo with Pia...(+)
By Gregory Fritze.
Arranged by Gregory
Fritze. Solo. For
Euphonium Solo with
Piano. Published by
Tuba-Euphonium Press
$18.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino For Three Brass (solo trumpet, trombone and tuba) [Werle] dif Bourne Music Co.
| | |
| Concertino No. 1 in Bb Major First Movement Euphonium, Piano (duo) Tuba-Euphonium Press
By Julius Klengel (1859-1933). Arranged by Leonard Falcone. Solo. For Euphonium ...(+)
By Julius Klengel
(1859-1933). Arranged by
Leonard Falcone. Solo.
For Euphonium Solo with
Piano. Published by
Tuba-Euphonium Press
$18.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino [Conducteur] Tuba-Euphonium Press
Euphonium solo with band SKU: TE.TEP10316 Composed by Gregory Fritze. Arr...(+)
Euphonium solo with band
SKU: TE.TEP10316
Composed by Gregory
Fritze. Arranged by
Gregory Fritze. Score.
Published by
Tuba-Euphonium Press
(TE.TEP10316).
Commissioned by
the United States Army
Band Composed especially
for Robert Powers. $90.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Alliance of the Free Orchestre d'harmonie Curnow Music
| | |
| Double Concerto for Euphonium and Tuba Potenza Music
Euphonium, tuba, piano SKU: P2.80081 Composed by James Grant. Chamber mus...(+)
Euphonium, tuba, piano
SKU: P2.80081
Composed by James Grant.
Chamber music, 20th
century. Published by
Potenza Music (P2.80081).
James Grant's
Double Concerto for
Euphonium and Tuba was
commissioned by a
consortium of individuals
and ensembles. Regarding
the concerto, Grant says,
Movement I, 'Playground',
needs little description
beyond its title.
Together, the two solo
instruments make their
way through a relentless
maze of technical
challenges (imagine
seesaws, sliding boards,
swing sets, obstacle
courses and trampolines)
accompanied by wind
ensemble, which is faced
with its own insistent
array of fun and games.
Movement II, 'Passage',
is best described as the
recollection of a journey
- as though the two
soloists have returned
from a noble quest and
are recounting their
adventures... Like the
title to the first
movement, the title to
movement III, 'Sprint',
speaks for itself. The
music is based on
materials from a previous
work originally scored
for tuba quartet called
'Etude/Attitude', and is
a breathless, high-energy
romp from beginning to
end.. $34.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concertino [Reduction] Tritone-Tenuto Publications
For Tuba and Wind Ensemble. By Walter Hartley. Solo Part with Piano Reduction. P...(+)
For Tuba and Wind
Ensemble. By Walter
Hartley. Solo Part with
Piano Reduction.
Published by
Tritone/Tenuto
Publications.
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino [Conducteur] Uetz Music
By Ernst-Thilo Kalke. For tuba and orchestra. Entertaining Concerto. Full score ...(+)
By Ernst-Thilo Kalke. For
tuba and orchestra.
Entertaining Concerto.
Full score & parts.
Published by Uetz Music
$120.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Lullaby and Greek Dances (from 'Concertino for 3 Brass and Band') Bourne Music Co.
Trumpets, trombones, tuba and piano SKU: BC.307559 Composed by Frederick ...(+)
Trumpets, trombones, tuba
and piano SKU:
BC.307559 Composed by
Frederick Werle.
Instrumental Music. Part.
Published by Bourne Music
(BC.307559).
$9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino for Tuba [Conducteur et Parties séparées] Molenaar Edition
Solo With Piano Or Concertband. Composed by Carlos Marques. Solo Concerts...(+)
Solo With Piano Or
Concertband. Composed
by Carlos Marques. Solo
Concerts. Solo and Band
Series. Score and parts.
Duration 10 minutes.
Published by Molenaar
Edition (ML.060893700).
$40.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Concertino for Euphonium and Piano Metropolis Music Publishers
Euphonium and Piano SKU: IS.TBP6291EM Composed by Akira Toda. Brass - Tub...(+)
Euphonium and Piano
SKU: IS.TBP6291EM
Composed by Akira Toda.
Brass - Tuba - Euphonium.
Metropolis Music
Publishers #TBP6291EM.
Published by Metropolis
Music Publishers
(IS.TBP6291EM). ISBN
9790365062911. $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino for Euphonium and Piano Metropolis Music Publishers
Euphonium and Piano SKU: IS.TBP6626EM Composed by Francois Glorieux. Bras...(+)
Euphonium and Piano
SKU: IS.TBP6626EM
Composed by Francois
Glorieux. Brass - Tuba -
Euphonium. The Music of
Francois Glorieux.
Metropolis Music
Publishers #TBP6626EM.
Published by Metropolis
Music Publishers
(IS.TBP6626EM). ISBN
9790365066261. Fran
çois Glorieux was born
in Belgium in 1932, and
acclaimed throughout
Europe, the USA, Latin
America, Canada, Japan,
China, the Middle East
and Africa. He is one of
the most widely
accomplished and
versatile musicians
traveling the
international circuit
today: pianist composer
conductor, commentator,
entertainer, honorary
professor of chamber
music at the Royal Music
Conservatory of Ghent and
guest professor at Yale
University (USA). His
particular art was the
rare one of improvisation
presented in five
languages. Glorieux
practices all musical
styles and has been
highly considered by
great artists such as
André Cluytens, Arthur
Rubinstein, Yves Nat,
Hiroyuki Iwaki, Enrique
Jorda, Raphael
Frühbeck de Burgos,
but also Michael Jackson,
Stan Kenton, Stéphane
Grappelli, Paul
McCartney, Toots
Thielemans, Jacky
Collins, Annie Girardot,
Dionne Warwick, A.C.
Jobim, and so on. $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino for Solo Euphonium and String Orchestra Metropolis Music Publishers
Euphonium Solo and Orchestra (Strings) SKU: IS.TBOR6627EM Composed by Fra...(+)
Euphonium Solo and
Orchestra (Strings)
SKU: IS.TBOR6627EM
Composed by Francois
Glorieux. Brass - Tuba -
Euphonium. The Music of
Francois Glorieux.
Metropolis Music
Publishers #TBOR6627EM.
Published by Metropolis
Music Publishers
(IS.TBOR6627EM). ISBN
9790365066278. Fran
çois Glorieux was born
in Belgium in 1932, and
acclaimed throughout
Europe, the USA, Latin
America, Canada, Japan,
China, the Middle East
and Africa. He is one of
the most widely
accomplished and
versatile musicians
traveling the
international circuit
today: pianist composer
conductor, commentator,
entertainer, honorary
professor of chamber
music at the Royal Music
Conservatory of Ghent and
guest professor at Yale
University (USA). His
particular art was the
rare one of improvisation
presented in five
languages. Glorieux
practices all musical
styles and has been
highly considered by
great artists such as
André Cluytens, Arthur
Rubinstein, Yves Nat,
Hiroyuki Iwaki, Enrique
Jorda, Raphael
Frühbeck de Burgos,
but also Michael Jackson,
Stan Kenton, Stéphane
Grappelli, Paul
McCartney, Toots
Thielemans, Jacky
Collins, Annie Girardot,
Dionne Warwick, A.C.
Jobim, and so on. $53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino for Tuba and Band Orchestre d'harmonie - Facile Shawnee Press
Concert Band (Score & Parts) - Grade 3 SKU: HL.35004652 Composed by Frank...(+)
Concert Band (Score &
Parts) - Grade 3 SKU:
HL.35004652 Composed
by Frank Bencriscutto.
Symphonic band. Shawnee
Press. Concert. Shawnee
Press #K0296. Published
by Shawnee Press
(HL.35004652). UPC:
888680076368.
8.5x11.0x0.793
inches. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concertino Potenza Music
Tuba and piano SKU: P2.90132 Composed by Andrew Batterham. Solo music, co...(+)
Tuba and piano SKU:
P2.90132 Composed by
Andrew Batterham. Solo
music, contemporary.
Published by Potenza
Music (P2.90132).
Concertino was
commissioned by SeI!rgio
Carolino (Principal tuba,
Orquestra SinfoI!nica do
Porto, Portugal) for
premiere with the Banda
SinfoI!nica Portuguesa,
under the artistic
direction of Francisco
Ferreira. SeI!rgio
Carolino is an extremely
diverse and inquisitive
performer, with forays
into jazz, funk and duets
with a DJ to his credit.
To take advantage of
this, one of the aims of
Concertino is to give
this unique performer an
opportunity to showcase a
varied palette of skills
within a symphonic band
setting. Andrew Batterham
has often assimilated
several different musical
languages into his work,
and so the journey from
traditional wind band
music, through funk and
jazz improvisation, to
dance modern styles was
an exciting one. The
piece is divided into two
halves. The first is
couched in a Classical,
common-chord musical
language, developing
traditional material in a
slow, soulful way. The
second half develops the
same material, but
utilising beat-oriented
styles such as funk and
techno, resulting in a
varied musical canvas
upon which the soloist
can express themselves in
spectacular fashion. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 2 Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 6. Conductor
Full Score. Duration
21:00. Published by
Manhattan Beach Music.
$95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Tuba Profundo-An International Masterclass with Roger Bobo [DVD] Cherry Classics
SKU: CY.CC2311 Composed by Roger Bobo. DVD. DVD with inserts. Published b...(+)
SKU: CY.CC2311
Composed by Roger Bobo.
DVD. DVD with inserts.
Published by Cherry
Classics (CY.CC2311).
Finally,
Maestro Bobo's DVD
masterclass is available.
Produced in Japan, it
contains some of the
finest musical advice and
insight for musicians,
students of brass and
tubists. Some of the
works performed include:
Strauss-Concerto #1,
Stevens-Variations in
Olden Style,
Koetsier-Concertino,
Madsen-Sonata &
Schumann-Adagio &
Allegro. The following
are some words from Roger
Bobo of his thoughts in
producing a DVD
masterclass - this will
be some of the most
valuable 2 1/2 hours
spent in front of a
screen:
Througho
ut my student and
professional days I have
been inspired and
motivated by watching
many masterclasses
(usually on television)
presented by many of the
great musicians of our
time. It was many years
ago that I first got the
idea to try to create
such a masterclass of my
own but was always held
back by thinking, No, I'm
not ready yet. The
difficult fact is that I
still feel that same Not
readiness. But having now
completed 7 decades on
this planet, it seemed
prudent to proceed with
the masterclass project,
ready or not, and
fortunately at this time
a DVD seemed the perfect
medium. --Roger Bobo. $37.45 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concertino Ensemble de cuivres [Conducteur et Parties séparées] Theodore Presser Co.
(For Brass Choir (4 Bb Trumpets, 2 F Horns, 3 Trombones, Tuba)). By Lawrence Wid...(+)
(For Brass Choir (4 Bb
Trumpets, 2 F Horns, 3
Trombones, Tuba)). By
Lawrence Widdoes. Brass
ensemble. For Trumpet I,
Trumpet II, Trumpet III,
Trumpet IV, Horn I, Horn
II, Tenor I, Tenor II,
Tenor III, Tuba. This
edition: Score & Parts.
Classical. Score & Parts.
Standard notation.
Composed FEBRUARY 1959.
Published by Theodore
Presser Company
$11.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concertino No. 2 [Conducteur et Parties séparées] Seesaw Music Corp
Flute, Tuba, & Percussion Ensemble SKU: SU.50027310 For Flute, Tuba, &...(+)
Flute, Tuba, & Percussion
Ensemble SKU:
SU.50027310 For
Flute, Tuba, & Percussion
Ensemble. Composed by
Robert Rollin. Chamber
Music, Mixed Ensemble.
Score & Parts. Seesaw
Music Corp #50027310.
Published by Seesaw Music
Corp (SU.50027310).
Copyright 1989.
Published by: Seesaw
Music. $32.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hartmann Ka Concertino Schott
Trumpet with 7 Solo-Instruments (Clarinet in B flat, BassClarinet in B flat, Bas...(+)
Trumpet with 7
Solo-Instruments
(Clarinet in B flat,
BassClarinet in B flat,
Bassoon, Contrabassoon,
French Horn in F, Trumpet
in C, Tuba) (TRP/7SOLOI)
- difficult SKU:
HL.49013142 Composed
by Hartmann. This
edition: Saddle
stitching. Sheet music.
La Tromba (Trumpet
Library). Classical.
Piano Reduction with Solo
Part. Composed 1933. 48
pages. Duration 19'.
Schott Music #TR 21.
Published by Schott Music
(HL.49013142). ISBN
9790001133395.
9.0x12.0x0.137
inches. This piece,
previously considered
lost since its first
performance, was
described thus in reviews
of that concert: ... The
composition is modern and
the humour appears to be
that of the composer
himself. Michel Nicolay,
who has extraordinary
technical skill and
fabulous breathing
control, leads this
difficult work by the
Munich composer Hartmann
and is supported by the
accompaniment of seven
wind instruments. The
bassoon provides rather a
humorous bass line in the
first section, with the
whole work tending
somewhat towards the
burlesque. The second
section contains some
really astonishing
passages.. $36.00 - Voir plus => Acheter | | |
| Three Vignettes [Conducteur] Randol Bass Music
Solo trombone or Euphonium with piano or wind ensemble accompaniment SKU: EC....(+)
Solo trombone or
Euphonium with piano or
wind ensemble
accompaniment SKU:
EC.RBM-035 Composed
by Randol Alan Bass.
Instrumental Solo. 21st
Century. Score. Randol
Bass Music #RBM-035.
Published by Randol Bass
Music (EC.RBM-035).
This concertino
for Solo Trombone or
Euphonium was composed at
the request of noted
trombonist Benjamin
Osborne of Austin, TX.
The work falls into three
short
movements: &nb
sp; I.
Recitative &nb
sp;
II.Serenade &n
bsp;
III.
BurlesqueMovement
I is a
declamatory statement for
the solo instrument, to
be played somewhat freely
in the manner of a
recitation.
Movement
II contains
broadly lyric music of
romantic sensibility,
most of which is cast in
11/8 meter.
Movement
III is an
energetic, somewhat
raucous musical example,
somewhat reminiscent of
traditional burlesque, a
bit impudent in character
and with distinctly jazzy
overtones.( dur:
8:00 ) WIND
ENSEMBLE
ACCOMPANIMENTPiccolo
| Horn 1, 2, 3 &
4 | Fl. 1
& 2 | Trpt. 1, 2 &
3 | Ob. 1
& 2 | Trbn. 1, 2 &
3 | Bsn. 1
&
2 | Euph. |
E-flat
Cl. | Tuba | Clar. 1, 2 &
3 | | <
td>Bs. Cl.St.
Bass | E-f
lat Cb.
Cl. | Harp | Alto Sax 1 &
2 | Timp. |
Ten.
Sax | Perc.
(3) | Bari
.
Sax | |
$12.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| 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 | | |
| Concertino, opus 94 Ensemble de cuivres [Conducteur] - Avancé Cherry Classics
By Dimitri Shostakovich. Arranged by Geoffrey Bergler. Brass Ensemble. For 4 tru...(+)
By Dimitri Shostakovich.
Arranged by Geoffrey
Bergler. Brass Ensemble.
For 4 trumpets, 2 horns,
2 trombones, bass
trombone, tuba. 20th
Century Russian.
Advanced. Full score &
set of parts. Published
by Cherry Classics
$37.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concertino Orchestre d'harmonie [Conducteur] Molenaar Edition
For (Bass) Tuba and Band. Composed by A. Den Arend. Basse Solo and Band/T...(+)
For (Bass) Tuba and
Band. Composed by A.
Den Arend. Basse Solo and
Band/Trumpet/Cornet/Fluge
l Horn Solo and Band/Solo
Concerts. Solo and Band
Series. Score only.
Published by Molenaar
Edition (ML.010856060-S).
$23.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
1 Page suivante 31 61 |