Four Old Dances Ensemble d'Accordéons [Conducteur et Parties séparées] - Facile De Haske Publications
Accordion Orchestra - Grade 2 SKU: BT.DHP-0991548-060 Composed by Jan Van...(+)
Accordion Orchestra -
Grade 2
SKU:
BT.DHP-0991548-060
Composed by Jan Van der
Roost. Arranged by Myriam
Mees. Accordion. Set
(Score & Parts). Composed
1999. De Haske
Publications #DHP
0991548-060. Published by
De Haske Publications
(BT.DHP-0991548-060).
English-German-French-
Dutch.
These four
dances are written in a
kind of neo renaissance
style. Because of the
fact that little
technical demands are
required from its
performing artists, these
dances are mainly meant
for beginning groups,
youth ensembles and also
for orchestras in all
kinds of small strengths.
Jan Van der Roost
originally had
pedagogical intentions
with this piece. Myriam
Mees arranged Four Old
Dances with the same
intention for accordion
orchestra with
electronium and
percussion ad
libitum.
Deze vier
dansen zijn geschreven in
een soort
neorenaissancestijl.
Gezien de geringe
technische eisen die aan
de uitvoerders gesteld
worden, richten deze
dansjes zich vooral op
beginnende groepen,
jeugdensembles en ook op
allerhandekleine
bezettingen. Jan Van der
Roost had in eerste
instantie pedagogische
bedoelingen. Myriam Mees
arrangeerde Four Old
Dances met dezelfde
intentie voor
accordeonorkest met
electronium en percussie
ad libitum.
Diese
vier Tänze sind in
einer Art
Neorenaissance-Stil
geschrieben. Da sie in
technischer Hinsicht
keine großen
Anforderungen an die
Ausführenden stellen,
sind sie für
Anfängerensembles,
Jugendorchester und alle
zahlenmäßig kleinen
Orchester besonders gut
geeignet.
Chamber Music Dizi, Erhu, Piccolo, Zheng SKU: PR.11441684S For Dizi, E...(+)
Chamber Music Dizi, Erhu,
Piccolo, Zheng
SKU:
PR.11441684S
For
Dizi, Erhu, Pipa, And
Zheng. Composed by
Chen Yi. Premiered at
Weill Recital Hall in
Carnegie Hall in New York
City. Traditional. Full
score. With Standard
notation. Composed 2014.
36 pages. Theodore
Presser Company
#114-41684S. Published by
Theodore Presser Company
(PR.11441684S).
UPC:
680160625253. 9 x 12
inches.
On the
occasion of its 30th
anniversary, the ensemble
Music From China
commissioned Chen Yi for
a new work, which became
Three Dances from China
South, scored for Chinese
instruments. Its three
descriptive movements
(Lions Playing Ball,
Bamboo Dance, Lusheng
Dance) are each inspired
by folk dances from the
southeastern provinces of
China. My chamber
ensemble work Three
Dances From China South
is commissioned by Music
From China tocelebrate
its 30th anniversary, and
scored for Chinese
traditional instruments
dizi, erhu, pipa, and
zheng. The commission
has been made possible by
the Chamber Music America
Classical
CommissioningProgram,
with generous funding
provided by The Andrew W.
Mellon Foundation, and
the Chamber Music America
Endowment Fund. Â The
world premiere is given
at Weill Recital Hall in
Carnegie Hall in New York
City, on November 21,
2014. Â My Three Dances
From China South is
dedicated to Susan Cheng,
the founder and Executive
Director of Music From
China, to celebrate the
30th anniversary of
MFC. There are three
movements in my Three
Dances From China South
for dizi, erhu, pipa, and
zheng. Â Thematerial in
the first movement Lions
Playing Ball is drawn
from a folk tune played
in the
accompanyingensemble for
the folk dance under the
same title in Chaozhou
region in Guangdong
province. Â The image
of the folk dance is
vivid and entertaining.
 The movement includes
several variations on the
theme. Â The variation
methods are inspired by
the various rhythmic
patterns used in the
traditional ensemble
playing. The melodic
material features a
special mode with a
tritone interval taken
from the folk tune.
 There are also
lyrical sections with
polyphonic layers in the
variations.The music in
the second movement is
inspired by the folk
Bamboo Dance, which is
popular in Li
minoritypeople from
Hainan Island in the
south. Â The aged old
folk dance is for ritual
ceremony and harvest
celebration in the
history, in which there
are pairs of people
holding the ends of the
long bamboo rods and
clapping them loudly in
stable pulse, for groups
of dancers to dance
between the bamboo shapes
on the floor, in musical
rhythms and ensemble
patterns. Â A musical
motive with a jumping
interval and articulation
is used throughout the
movement.The third
movement is called
Lusheng Dance. Â I have
witnessed the folk dance
performance of the Dong
minority people in
Guangxi province in the
1980’s.  The
exciting scene inspired
me to imitate the large
lusheng ensemble playing
style in my ensemble of
four Chinese instrumental
musicians without using
the sheng (a wind
instrument with metal
pipes that is popular in
concert music, and
similar to the folk
lusheng). Â On top of
the rhythmic patterns, I
imitated a two--voice
folk song of Zhuang
minority people in the
same province. Â The
melody is played by the
leading erhu and
dizi.—Chen Yi.
Concert Band - Grade 3 SKU: BT.EMBZ14737 Composed by Ãrpád Baláz...(+)
Concert Band - Grade 3
SKU: BT.EMBZ14737
Composed by Ãrpád
Balázs. EMB Concert
Band Series. Concert
Piece. Score Only.
Composed 2012. 20 pages.
Editio Musica Budapest
#EMBZ14737. Published by
Editio Musica Budapest
(BT.EMBZ14737).
Concert Band (Score) SKU: HL.50602096 Concert Band Score. Composed...(+)
Concert Band (Score)
SKU: HL.50602096
Concert Band
Score. Composed by
Ferenc Farkas. EMB. 20Th
Century, Classical.
Softcover. 32 pages.
Duration 540 seconds.
Editio Musica Budapest
#Z14992. Published by
Editio Musica Budapest
(HL.50602096).
ISBN
9781540062307. UPC:
888680961305.
The
composer wrote of his
work as follows: In the
music of Hungary, folk
songs are manifestly of
great importance, on the
other hand our ancient
airs and dances play a
modest role. For this
work I have been
influenced by dances of
the 17th century, written
by unknown amateurs in a
relatively simple style.
Most of these dances were
recorded between the 14th
and 18th centuries under
the usual form of
tablature notation. My
interest in this music
was first captured in the
1940s. I was so
fascinated that I decided
to give these melodies
new life. I fitted the
little eight-bar dances
together into ternary and
rondo forms, and leaning
on early Baroque harmony
and counterpoint, I
attempted a reminiscence
of that atmosphere of the
provincial Hungarian
Baroque.
Early Hungarian Dances Orchestre d'harmonie [Conducteur] - Facile EMB (Editio Musica Budapest)
Concert Band - Grade 3 SKU: BT.EMBZ14992 Composed by Ferenc Farkas. EMB C...(+)
Concert Band - Grade 3
SKU: BT.EMBZ14992
Composed by Ferenc
Farkas. EMB Concert Band
Series. Concert Piece.
Score Only. Composed
2016. 32 pages. Editio
Musica Budapest
#EMBZ14992. Published by
Editio Musica Budapest
(BT.EMBZ14992).
The composer
wrote of his work as
follows: In the music of
Hungary, folk songs are
manifestly of great
importance, on the other
hand our ancient airs and
dances play a modest
role. For this work I
have been influenced by
dances of the 17th
century, written by
unknown amateurs in a
relatively simple style.
Most of these dances were
recorded between the 14th
and 18th centuries under
the usual form of
tablature notation. My
interest in this music
was first captured in the
1940s. I was so
fascinated that I decided
to give these melodies
new life. I fitted the
little eight-bar dances
together into ternary and
rondo forms, and leaning
on early Baroque harmony
and counterpoint,
Iattempted a reminiscence
of that atmosphere of the
provincial Hungarian
Baroque.
So
schrieb der Komponist
über sein Werk:
In
der ungarischen Musik
sind natürlich die
Volkslieder sehr wichtig,
doch die alten Melodien
und Tänze spielen in
unserer Musik eine
geringere Rolle. Für
dieses Werk habe ich mich
von Tänzen des 17.
Jahrhunderts anregen
lassen, die von
unbekannten Dilettanten,
also ziemlich einfach,
geschrieben worden waren.
Die meisten waren in der
zwischen dem 14. und 18.
Jahrhundert geläufigen
Tabulaturschrift notiert.
In den vierziger Jahren
begann ich mich erstmals
für diese Musik zu
interessieren. Ich war
davon so fasziniert, dass
ich mich entschloss, sie
wieder zum Leben zu
erwecken. Ich fügte
die kleinen achttaktigen
Tänze zu dreiteiligen
undRondoformen zusammen.
Ausgehend von der
frühbarocken Harmonik
und Kontrapunktik habe
ich mich in einer Art
ungarischen provinziellen
Barocks
versucht.“.
Chamber Music Clarinet, Flute, Piano SKU: PR.114417570 For Flute, Bb C...(+)
Chamber Music Clarinet,
Flute, Piano
SKU:
PR.114417570
For
Flute, Bb Clarinet, And
Piano. Composed by
Edvard Grieg. Arranged by
Michael Webster. Sws
each. See the program
notes on pages two and
three of the full score.
Set of Score and Parts.
With Standard notation.
Composed 2008. 40 8 8
pages. Duration 18
minutes. Theodore Presser
Company #114-41757.
Published by Theodore
Presser Company
(PR.114417570).
ISBN
9781491107867. UPC:
680160636013. 9x12
inches.
The famous
set of dances by Norway's
greatest composer were
written for piano duet.
Grieg later created a
piano solo version, but
refused to orchestrate
the set. After some study
of Grieg and his music,
Michael Webster has
arranged the four dances
for Flute, Clarinet, and
Piano in a faithful
setting, using the piano
duet version as a guide.
This lively Grieg classic
will be a welcome new
addition to performance
programs. For advanced
performers.______________
_________________________
Text from the scanned
back cover:Born in 1944,
MICHAEL WEBSTER made his
New York recital debut at
Town Hall in 1968 with
his eminent father,
Beveridge Webster, as
pianist. In the same
year, he won the Young
Concert Artists
International Competition
and succeeded his
teacher, Stanley Hasty,
as Principal Clarinet in
the Rochester
Philharmonic, a position
he held for twenty years.
Webster has performed
with the Chamber Music
Society of Lincoln
Center, the 92nd Street
Y, with the Tokyo,
Cleveland, Muir, Ying,
Enso, and Dover String
Quartets, and with the
festivals of Marlboro,
Santa Fe, Norfolk,
Chamber Music Northwest,
Angel Fire, Steamboat
Springs, Park City,
Sitka, Kapalua, Bowdoin,
Orcas Island,
Skaneateles, La Musica di
Asolo, Stratford,
Victoria, and Domaine
Forget.As soloist he has
appeared with many
orchestras, including the
Philadelphia Orchestra
under Aaron Copland and
the Boston Pops under
John Williams. His
travels have taken him as
performer and teacher to
most of the 50 states, as
well as Canada,
Mexico,Puerto Rico,
Central and South
America, Europe, Japan,
China, Australia, and New
Zealand. Webster was
Acting Principal Clarinet
of the San Francisco
Symphony, and has served
on the clarinet and/or
conducting faculties of
New England Conservatory,
Boston University,
University of Michigan,
and the Eastman School,
from which he earned his
three degrees. Currently
he is Professor of Music
at Rice Universityâ??s
Shepherd School of Music
and Artistic Director of
the Houston Youth
Symphony, which has won
multiple first prizes in
national performance
competitions.With his
wife, flutist Leone
Buyse, and pianist Robert
Moeling, he plays in the
Webster Trio, which has
recorded his arrangements
on Tour de France and
World Wide Webster for
Crystal Records.
Otherarrangements were
recorded for Nami and
Camerata Tokyo in Japan
with pianist Chizuko
Sawa. Webster has also
recorded for Albany,
Arabesque, Beaumont,
Bridge, Centaur, CRI, and
New World. He has played
at many ClarinetFests for
the International
Clarinet Association and
written a column entitled
â??TeachingClarinetâ?
in The Clarinet Magazine
since 1998. Michael
Webster is a Buffet
artist-clinician,
performing on Buffet
clarinets
exclusively. NORWEGIAN
DANCES (Grieg)Michael
Websterâ??s
transcriptions for Flute,
Clarinet, and Piano have
created the core
literature for this
instrumental genre.
Working directly from
Griegâ??s original piano
four-hands version of the
charmingly familiar
Norwegian Dances, Webster
has given flutists and
clarinetists another
addition to the
ensembleâ??s
repertoire.
Chamber Music Pipa, Percussion:, Peng Ling, Japanese High Woodblock, Two Bongos,...(+)
Chamber Music Pipa,
Percussion:, Peng Ling,
Japanese High Woodblock,
Two Bongos, Conga, Nao
Bo, Suspended Cymbal,
Three Beijing Opera
Gongs, Triangle
SKU:
PR.114412930
For
Pipa and Percussion.
Composed by Chen Yi.
Saddle. Contemporary. Set
of Score and Parts. With
Standard notation.
Composed 2005. 20+6+11
pages. Duration 20
minutes. Theodore Presser
Company #114-41293.
Published by Theodore
Presser Company
(PR.114412930).
UPC:
680160571604. 8.5 x 11
inches. Text: Li Bai. Li
Bai. Three poems by Li
Bai (701 -
762).
It's a
privilege to write a new
work for my friend, the
pipa master Ms. Wu Man to
perform in the 05/06
concert season.
Remembering the first
time we worked together
in 1991, Wu Man premiered
my solo piece The Points
on the age-old Chinese
traditional instrument,
with her adventurous
virtuosity and
sensibility in the piece
with new musical concept
and language, at the
NewWorkOctober concert
series at Columbia
University in New York,
presented by New Music
Consort. I have been very
happy to keep track with
her new experiment and
success in the new music
field since then. Again,
in 2001, I have composed
a trio for her to play
with Yo-Yo Ma and
Young-Nam Kim,
commissioned by the
Chamber Music Society of
Minnesota for the Hun
Qiao project. Wu Man
loved the piece so much
that she commissioned me
another new work to
perform this time. In
Chinese cultural
tradition, in which I am
deeply rooted, music is a
part of an organic art
form, along with poetry,
calligraphy and painting.
I am glad that Wu Man
suggested to create our
new work together with
visual artist Catherine
Owens. We are going to
combine the art forms
together in one. I got my
inspiration from three
ancient poems, which are
drawn in Chinese
calligraphy, with
exaggerated dancing lines
and shapes in layers of
ink. The music would go
with image projection in
Chinese painting
according to the poems.
Written for Wu Man and
commissioned by the
Walton Arts Center,
Fayetteville, AR, the
duet Ancient Dances is
written for pipa and a
set of percussion
instruments (including a
pair of naobo, finger
cymbals, and bongos; a
Japanese high woodblock,
a triangle, 3 Beijing
Opera gongs in small,
medium and large sizes, a
suspended cymbal and a
conga). It consists of
three movements of music
- Cheering, Longing, and
Wondering, in which the
music abstractly
represents various
expressions, in different
textures and tempi,
inspired by the text in
the three Chinese poems
by Li Bai from Tang
Dynasty: 1) Riding on My
Skiff; 2) Night Thoughts;
3) The Cataract of Mount
Lu. The flying lines, as
like mysterious and vivid
ancient dances, bring the
music, the calligraphy,
and the painting all
together in our work.
--Chen Yi. It's a
privilege to write a new
work for my friend, the
pipa master Ms. Wu Man to
perform in the 05/06
concert season.
Remembering the first
time we worked together
in 1991, Wu Man premiered
my solo piece The Points
on the age-old Chinese
traditional instrument,
with her adventurous
virtuosity and
sensibility in the piece
with new musical concept
and language, at the
NewWorkOctober concert
series at Columbia
University in New York,
presented by New Music
Consort. I have been very
happy to keep track with
her new experiment and
success in the new music
field since then. Again,
in 2001, I have composed
a trio for her to play
with Yo-Yo Ma and
Young-Nam Kim,
commissioned by the
Chamber Music Society of
Minnesota for the Hun
Qiao project. Wu Man
loved the piece so much
that she commissioned me
another new work to
perform this time.In
Chinese cultural
tradition, in which I am
deeply rooted, music is a
part of an organic art
form, along with poetry,
calligraphy and painting.
I am glad that Wu Man
suggested to create our
new work together with
visual artist Catherine
Owens. We are going to
combine the art forms
together in one. I got my
inspiration from three
ancient poems, which are
drawn in Chinese
calligraphy, with
exaggerated dancing lines
and shapes in layers of
ink. The music would go
with image projection in
Chinese painting
according to the
poems.Written for Wu Man
and commissioned by the
Walton Arts Center,
Fayetteville, AR, the
duet Ancient Dances is
written for pipa and a
set of percussion
instruments (including a
pair of naobo, finger
cymbals, and bongos; a
Japanese high woodblock,
a triangle, 3 Beijing
Opera gongs in small,
medium and large sizes, a
suspended cymbal and a
conga). It consists of
three movements of music
- Cheering, Longing, and
Wondering, in which the
music abstractly
represents various
expressions, in different
textures and tempi,
inspired by the text in
the three Chinese poems
by Li Bai from Tang
Dynasty: 1) Riding on My
Skiff; 2) Night Thoughts;
3) The Cataract of Mount
Lu. The flying lines, as
like mysterious and vivid
ancient dances, bring the
music, the calligraphy,
and the painting all
together in our
work.—Chen Yi.
Dublin Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1074289-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1074289-010
Composed by Jan Van der
Roost. Inspiration
Series. Concert Piece.
Set (Score & Parts).
Composed 2007. De Haske
Publications #DHP
1074289-010. Published by
De Haske Publications
(BT.DHP-1074289-010).
9x12 inches.
English-German-French-Dut
ch.
In Dublin
Dances Jan Van der
Roost has combined three
well-known traditional
Irish melodies to form an
attractive medley. The
medley contains Brian
Boru’s March,
a melody made popular by
worldfamous flautist
James Galway, followed
bythe atmospheric tune
The Minstrel Man
and, as a cheerful
finale, The Irish
Washerwoman. Add a
little magic from the
Emerald Isle to your
concert with this rousing
medley.
In deze
‘Ierse
rapsodie’ put de
componist uit de rijke
schat aan Ierse
volksmuziek en rijgt hij
drie bekende melodieën
aaneen tot een fraai
geheel. De eerste
melodie, Brian
Boru’s March,
krijgt een verfrissende
opknapbeurt,trommels en
fluiten spelen daarbij
een belangrijke rol. Dan
volgt de melodie van
The Minstrel Man,
sfeervol gebracht door
diverse instrumenten en
met een sobere maar
treffende harmonisatie
omkaderd. Als
‘uitsmijter’
is erhet opgewekte The
Irish Washerwoman -
deze vrolijke finale
besluit dit muzikale
bezoek aan het oneindig
groene eiland.
In
Dublin Dances
verknüpfte Jan Van der
Roost drei bekannte
Melodien zu einem
ansprechenden Ganzen:
Brian Borus’s
March, bekannt vor
allem durch den
Flötisten James
Galway, ist geprägt
von Flöten und
Trommeln; dann folgt
The Minstrel Man,
ein stimmungsvolles Lied,
das in mehreren
Instrumentierungen
erscheint und
schließlich - als Clou
- The Irish
Washerwoman im
typisch irischen 6/8-Takt
als fröhliches Finale
dieses musikalischen
Besuchs auf der ewig
grünen
Insel.
Regi Magyar Tancok Gomorbol Orchestre d'harmonie [Set de Parties séparées] - Intermédiaire EMB (Editio Musica Budapest)
(Early Hungarian Dances from Gomor). Composed by Arpad Balazs. For Concert Band ...(+)
(Early Hungarian Dances
from Gomor). Composed by
Arpad Balazs. For Concert
Band (Score and Parts).
EMB. Grade 3. Set of
parts. Editio Musica
Budapest #Z14737SET.
Published by Editio
Musica Budapest
Dublin Dances Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1074289-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1074289-140
Composed by Jan Van der
Roost. Inspiration
Series. Concert Piece.
Score Only. Composed
2007. 40 pages. De Haske
Publications #DHP
1074289-140. Published by
De Haske Publications
(BT.DHP-1074289-140).
9x12 inches.
English-German-French-Dut
ch.
In Dublin
Dances Jan Van der
Roost has combined three
well-known traditional
Irish melodies to form an
attractive medley. The
medley contains Brian
Boru’s March,
a melody made popular by
worldfamous flautist
James Galway, followed
bythe atmospheric tune
The Minstrel Man/I>
and, as a cheerful
finale, The Irish
Washerwoman. Add a
little magic from the
Emerald Isle to your
concert with this rousing
medley.
In deze
‘Ierse
rapsodie’ put de
componist uit de rijke
schat aan Ierse
volksmuziek en rijgt hij
drie bekende melodieën
aaneen tot een fraai
geheel. De eerste
melodie, Brian
Boru’s March,
krijgt een verfrissende
opknapbeurt,trommels en
fluiten spelen daarbij
een belangrijke rol. Dan
volgt de melodie van
The Minstrel Man,
sfeervol gebracht door
diverse instrumenten en
met een sobere maar
treffende harmonisatie
omkaderd. Als
‘uitsmijter’
is erhet opgewekte The
Irish Washerwoman -
deze vrolijke finale
besluit dit muzikale
bezoek aan het oneindig
groene eiland.
In
Dublin Dances
verknüpfte Jan Van der
Roost drei bekannte
Melodien zu einem
ansprechenden Ganzen:
Brian Borus’s
March, bekannt vor
allem durch den
Flötisten James
Galway, ist geprägt
von Flöten und
Trommeln; dann folgt
The Minstrel Man,
ein stimmungsvolles Lied,
das in mehreren
Instrumentierungen
erscheint und
schließlich - als Clou
- The Irish
Washerwoman im
typisch irischen 6/8-Takt
als fröhliches Finale
dieses musikalischen
Besuchs auf der ewig
grünen
Insel.
Early Hungarian Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile EMB (Editio Musica Budapest)
Concert Band - Grade 3 SKU: BT.EMBZ14992SET Composed by Ferenc Farkas. EM...(+)
Concert Band - Grade 3
SKU:
BT.EMBZ14992SET
Composed by Ferenc
Farkas. EMB Concert Band
Series. Concert Piece.
Set (Score & Parts).
Composed 2016. 274 pages.
Editio Musica Budapest
#EMBZ14992SET. Published
by Editio Musica Budapest
(BT.EMBZ14992SET).
English-Hungarian.
The composer wrote of
his work as follows: In
the music of Hungary,
folk songs are manifestly
of great importance, on
the other hand our
ancient airs and dances
play a modest role. For
this work I have been
influenced by dances of
the 17th century, written
by unknown amateurs in a
relatively simple style.
Most of these dances were
recorded between the 14th
and 18th centuries under
the usual form of
tablature notation. My
interest in this music
was first captured in the
1940s. I was so
fascinated that I decided
to give these melodies
new life. I fitted the
little eight-bar dances
together into ternary and
rondo forms, and leaning
on early Baroque harmony
and counterpoint,
Iattempted a reminiscence
of that atmosphere of the
provincial Hungarian
Baroque.
So
schrieb der Komponist
über sein Werk:
In
der ungarischen Musik
sind natürlich die
Volkslieder sehr wichtig,
doch die alten Melodien
und Tänze spielen in
unserer Musik eine
geringere Rolle. Für
dieses Werk habe ich mich
von Tänzen des 17.
Jahrhunderts anregen
lassen, die von
unbekannten Dilettanten,
also ziemlich einfach,
geschrieben worden waren.
Die meisten waren in der
zwischen dem 14. und 18.
Jahrhundert geläufigen
Tabulaturschrift notiert.
In den vierziger Jahren
begann ich mich erstmals
für diese Musik zu
interessieren. Ich war
davon so fasziniert, dass
ich mich entschloss, sie
wieder zum Leben zu
erwecken. Ich fügte
die kleinen achttaktigen
Tänze zu dreiteiligen
undRondoformen zusammen.
Ausgehend von der
frühbarocken Harmonik
und Kontrapunktik habe
ich mich in einer Art
ungarischen provinziellen
Barocks
versucht.“.
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library). The
Slavonic Dances Op. 46,
which began to conquer
the world's concert halls
in 1878, made a major
contribution to Dvorak's
international
breakthrough. The Urtext
edition is based on the
main sources, mainly on
the autograph score and
the first edition.
Dances/marches; Romantic.
Full score. 296 pages.
Duration 35'. Breitkopf
and Haertel #PB 5273.
Published by Breitkopf
and Haertel (BR.PB-5273).
ISBN 9790004210079. 10
x 12.5 inches.
In
his Slavonic Dances Op.
46, Dvorak did not draw
on pre-existent music,
but created something
original and new,
projecting his own
compositional will into
the creative process.
What we hear are Dvoraks
melodies,and that it is
due to his creative will
that he cast them as in
Dance 3, for example in
the form of a melodic
four-tone model which is
common to many folk songs
and childrens songs.
Finally, it is his
rhythmic invention and
shaping of the musical
character of each dance
that breathe life into
the elements of Slavonic
dance music.
The
Slavonic Dances Op. 46,
which began to conquer
the world's concert halls
in 1878, made a major
contribution to Dvorak's
international
breakthrough. The Urtext
edition is based on the
main sources, mainly on
the autograph score and
the first edition.
SKU: HL.115976 Wind Ensemble, Full Score. Composed by Don Freund. ...(+)
SKU: HL.115976
Wind Ensemble, Full
Score. Composed by
Don Freund. LKM Music.
Performance. 28 pages.
Lauren Keiser Music
Publishing #X077573.
Published by Lauren
Keiser Music Publishing
(HL.115976).
ISBN
9781480321496. UPC:
884088880422. 8.5x11
inches.
Five
Elizabethan Dances is
drawn from the music that
sets the scene and
provides the
accompaniment for the
Ballroom Scene from Don
Freund's Romeo and
Juliet: A Shakespearean
Music Drama for singing
actors and piano. The
style of the dances is
freely drawn from dances
found in the Fitzwilliam
Virginal Book (music from
ca. 1562 to 1612), spiced
up with changing meters
and chromatic twists of
melody and harmony
reflecting a more recent
musical language. Each of
the dances represents a
pivotal
scene-within-a-scene.
Piano SKU: SU.96010570 Composed by Wolfgang Amadeus Mozart. Score. Subito...(+)
Piano
SKU:
SU.96010570
Composed
by Wolfgang Amadeus
Mozart. Score. Subito
Music Corporation
#96010570. Published by
Subito Music Corporation
(SU.96010570).
Transcribed and
arranged for Piano by
Lawrence RosenA new,
3-volume set of Mozart
Dances for Piano, 14 of
these dance suites are
faithfully transcribed
for piano at the early to
advanced intermediate
level. Almost all appear
as new Mozart music for
piano (except for the Six
German Dances, K. 509,
which Mozart himself
arranged for piano.)
Within each volume, they
are arranged by
increasing difficulty.
They are eminently suited
for teaching, recital and
concert performance,
encores, recording,
sight-reading practice,
and theoretical study. We
sincerely hope you enjoy
them as much as we did in
discovering and creating
these little
masterpieces.
CONTENTS Four German
Dances, K. 602
(originally for 2 Flutes,
Piccolo, 2 Oboes, 2
Clarinets, 2 Bassoons, 2
Horns, 2 Trumpets, 2
Violins,
Violoncello/Contrabass,
Timpani)
Twelve
German Dances, K. 586
(originally for 2 Flutes,
Piccolo, 2 Oboes, 2
Clarinets, 2 Bassoons, 2
Horns, 2 Violins,
Violoncello/Contrabass,
Tambourine, Timpani)
Minuet, K. 409
(originally for 2 Flutes,
2 Oboes, 2 Bassoons, 2
Horns, 2 Trumpets, 2
Violins, Viola,
Violoncello/Contrabass) Les Petits Riens
(excerpts,) K. 299b
(originally for 2 Flutes,
2 Oboes, 2 Clarinets, 2
Bassoons, 2 Horns, 2
Trumpets, 2 Violins,
Viola,
Violoncello/Contrabass,
Timpani)
Instrumentation:
Piano
Score and Parts Concert Band (Score & Parts) SKU: HL.50602108 Concert ...(+)
Score and Parts Concert
Band (Score & Parts)
SKU: HL.50602108
Concert Band Score and
Parts. Composed by
Ferenc Farkas. EMB. 20Th
Century, Classical,
Hungarian. Softcover. 274
pages. Duration 540
seconds. Editio Musica
Budapest #Z14992SET.
Published by Editio
Musica Budapest
(HL.50602108).
ISBN
9781540064202. UPC:
888680964627.
The
composer wrote of his
work as follows: In the
music of Hungary, folk
songs are manifestly of
great importance, on the
other hand our ancient
airs and dances play a
modest role. For this
work I have been
influenced by dances of
the 17th century, written
by unknown amateurs in a
relatively simple style.
Most of these dances were
recorded between the 14th
and 18th centuries under
the usual form of
tablature notation. My
interest in this music
was first captured in the
1940s. I was so
fascinated that I decided
to give these melodies
new life. I fitted the
little eight-bar dances
together into ternary and
rondo forms, and leaning
on early Baroque harmony
and counterpoint, I
attempted a reminiscence
of that atmosphere of the
provincial Hungarian
Baroque.
For 3 Soprano
Recorders, Performance
Score. Composed by
Various. Arranged by
Rainer Butz. This
edition: Saddle
stitching. Sheet music.
Edition Schott. Die drei
Stimmen haben
unterschiedliche
Schwierigkeitsgrade - so
konnen Anfanger und
fortgeschrittene Spieler
gleichermassen die
Sammlung nutzen.
Classical. Softcover. 24
pages. Schott Music
#ED20789. Published by
Schott Music
(HL.49018968).
ISBN
9790001171007.
9.0x12.0x0.095
inches.
Ballroom
dances like waltz,
foxtrot, blues, tango,
rumba, cha-cha-cha, paso
doble and jive or samba
are known to many people
to a large extent or even
familiar to them from
dancing class. 'Let's
dance' is an interesting
addition to the recorder
repertoire, containing
well-known and exemplary
titles of standard and
Latin American dances and
providing an excellent
opportunity to play the
dances known from
listening or from doing
the dance steps on the
recorder. The three parts
have different levels of
difficulty - as a result,
both beginners and
advanced players alike
can use this collection.
The arrangements in this
book gradually increase
in difficulty. Enjoy and
have fun with the
dances!
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
Concert Band (Score and Parts) - Grade 2 SKU: HL.44011909 Composed by Mar...(+)
Concert Band (Score and
Parts) - Grade 2
SKU:
HL.44011909
Composed
by Marc Cunningham. De
Haske Concert Band.
Concert, Contest,
Festival. Published by De
Haske Publications
(HL.44011909).
UPC:
884088950477. 9x12
inches.
The special
landscape in the Valley
of Flowers national park
in the Himalayas is
distinguished by its
brilliant colors and the
variety of its flora and
fauna. Marc Cunningham
was deeply influenced by
the temple dances of this
region. The theme behind
these dances, which were
originally religious
performances and for
which the dancers dress
in colorful garb, is the
tension between good and
evil. In Himalayan
Dances â Valley of
Flowers, various
aspects of this ancient
dance form are brought
into the spotlight.
Duration: 3:10.
Revised Edition. Composed by Johannes Brahms (1833-1897). Edited by Camil...(+)
Revised Edition.
Composed by Johannes
Brahms (1833-1897).
Edited by Camilla Cai.
Henle Music Folios.
Softcover. 44 pages. G.
Henle #HN560. Published
by G. Henle
(HL.51480560).
Arranged for Violoncello and Piano. Composed by Antonin Dvorak (1841-1904). Ar...(+)
Arranged for Violoncello
and
Piano. Composed by
Antonin
Dvorak (1841-1904).
Arranged
by Jiri Gemrot. Stapled.
Performance score and
part.
60/16 pages. Published by
Baerenreiter Verlag
Composed by Various. Arranged by Carol Klose, Christopher Norton, and Hywel Davi...(+)
Composed by Various.
Arranged by Carol Klose,
Christopher Norton, and
Hywel Davies. BH Piano.
Ballet, Classical.
Softcover. 96 pages.
Boosey and Hawkes
#M060123917. Published by
Boosey and Hawkes
Composed by Jonathan
Leshnoff. Sws. Score and
parts. Leshnoff
Publishing #494-03143.
Published by Leshnoff
Publishing
(PR.494031430).
ISBN
9781491121269. UPC:
680160673841. Transcribed
by Jonathan
Leshnoff.
Having
written four String
Quartets in less than a
decade, Leshnoff struck a
lighter note with his
fifth, titled Four
Dances. The four dance
movements are I Waltz, II
Pavane, III Chas Tanz, IV
Furlana. Written in 2014,
Four Dances was premiered
by Carpe Diem String
Quartet the following
year, and has just been
recorded by the same on
an album featuring
Leshnoff's 3rd and 4th
String Quartets, as well.
Four Dances is also
arranged for saxophone
quartet (494-03141) and
Baltimore Chamber
Orchestra recently
premiered a chamber
orchestra arrangement,
available on a rental
basis. An arrangement for
full orchestra is also
available on rental.