Piano solo - Grade 5

SKU: IG.PMS122

Composed by Vladimir Nikolov. Score. Imagine Music Publishing #PMS122. Published by Imagine Music Publishing (IG.PMS122).

9 x 12 in inches.

For Piano.
By Vladimir Nikolov

Flashes is a collection of twelve miniature pieces for solo piano, composed in several stages over a long period of time.

Each one of these pieces illustrates an independent story and mood and is written with a different approach to the piano. All of the stories are products of instant moments of creativity that gradually became depictions of everyday life events, places and revelations that occurred during the process of writing. Many times this process became the story itself, thus the source of light evolved into its own reflection.

Styles vary from classical, post-impressionist to jazz and minimal through organic compositional structure.

Titles Include:
First Etude for Piano
Sun - trine - Moon
Last Etude for Piano
Distance
Bit Bang
Wednesday Afternoon
Game
Skop je
Reflection...(on Caress)
Prelude to Still Life
The Third Day
'Round Midday.

Chorus (with soloists) and piano (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0.0.0. - vl.2va.vc/db)

SKU: BR.ED-12658

Requiem. Composed by Andre Campra. Edited by Jean-Paul Montagnier. Choir; Softbound. Mass; Requiem; Baroque. Piano/Vocal Score. 70 pages. Duration 55'. Breitkopf and Haertel #ED 12658. Published by Breitkopf and Haertel (BR.ED-12658).

ISBN 9790220121760. 7.5 x 11 inches.

Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729.
The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected.
(Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Viola 2 (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0.0.0. - vl.2va.vc/db)

SKU: BR.EOS-8047-20

Requiem. Composed by Andre Campra. Edited by Jean-Paul Montagnier. Choir; stapled. Eulenburg Orchestral Series. Mass; Requiem; Baroque. Part. 12 pages. Duration 55'. Breitkopf and Haertel #EOS 8047-20. Published by Breitkopf and Haertel (BR.EOS-8047-20).

ISBN 9790004789759. 8.5 x 11.5 inches.

Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729.
The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected.
(Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Vocal soli, SATB choir, orchestra (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0.0.0. - vl.2va.vc/db)

SKU: BR.EOS-8047-15

Requiem. Composed by Andre Campra. Edited by Jean-Paul Montagnier. Choir; Softcover. Eulenburg Orchestral Series. Mass; Requiem; Baroque. Part. 24 pages. Duration 55'. Breitkopf and Haertel #EOS 8047-15. Published by Breitkopf and Haertel (BR.EOS-8047-15).

ISBN 9790004789735. 8.5 x 11.5 inches.

Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729.
The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected.
(Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Woodwinds (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0.0. - 0.2.0.0. - timp - str - bc)

SKU: BR.EOS-8063-30

Hail! Bright Cecilia. Composed by Henry Purcell. Stapled. Eulenburg Orchestral Series. Renaissance/early Baroque; Baroque. Set of parts. 40 pages. Duration 60'. Breitkopf and Haertel #EOS 8063-30. Published by Breitkopf and Haertel (BR.EOS-8063-30).

ISBN 9790004789827. 8.5 x 11.5 inches.

The Ode was admirably set by Mr. Henry Purcell, and performed twice with universal applause.
(The Gentlemen's Journal, 1692)

The popularity of Purcell's setting is apparent from the many sources that survive and from the printed extracts which appeared almost immediately after its first performance. The primary source for this edition is the largely autograph manuscript in the Bodleian Library. Rather to reduce the orthography to a norm, the capitalization of the vocal text favours Purcell's preferences.
(Christop her Hogwood) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Composed by Tom Cipullo. 21st Century. 21st Century. Published by E.C. Schirmer Publishing (EC.8609D).

Clarinet trio

SKU: P2.30098

Composed by Dan Kramer. Chamber music, 20th century. Published by Potenza Music (P2.30098).

When The Mood Takes You provides a snapshot of different emotional states I sometimes find myself in. Anxiety is often fed by mixtures of fear, excitement and mystery, which are each explored throughout the movement. Impatient is a lighter, humorous mimicking of the hustle and bustle of everyday life and how we tend to be impatient when sometimes we are required to wait for things. The Reflective movement is the antithesis of this, as it is a depiction of taking a step back along with a deep breath, and looking inward for a moment to think introspectively on life.

Viola 1 (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0.0.0. - vl.2va.vc/db)

SKU: BR.EOS-8047-19

Requiem. Composed by Andre Campra. Edited by Jean-Paul Montagnier. Choir; stapled. Eulenburg Orchestral Series. Mass; Requiem; Baroque. Part. 12 pages. Duration 55'. Breitkopf and Haertel #EOS 8047-19. Published by Breitkopf and Haertel (BR.EOS-8047-19).

ISBN 9790004789742. 8.5 x 11.5 inches.

Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729.
The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected.
(Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

SATB Choir a Cappella

SKU: HL.14033692

Composed by Per Norgard. Music Sales America. Classical. Vocal Score. Composed 2005. Edition Wilhelm Hansen #WH30605. Published by Edition Wilhelm Hansen (HL.14033692).

1. The Native Land of Light (for mixed chorus, SATB) 2. Come lift me up (for mixed chorus, SATB -) -) the second movement may be performed by a children's chorus or by the female voices (SSA) from a mixed chorus Programme Note From my very first aquaintance with these Andersen poems, I was deeply moved by the simple, almost naive, yet evocative imagery, with which Andersen realized his visions, images like: The Melody of the Heart, The Poem of Beauty, A Spiritual Hindustan, Fly, Death, over the Sea of Time, fly to Eternal Summer. Along with this childishness Hans Christian Andersen's poetry encompasses enormous - almost Willim Blake-ish - cosmic visions, in theinterpolations between e.g. reaching the Heaven as opposed to you'll find it in a Rosebud, or the juxtaposition of Everyday Life and Eternal Poetry - which become one. Thus the music came to life in my immediate encounter with these words, which almost sang themselves into my Musical Furnace - if you will. Per Norgard.

Guitar; Methods and Music for Children

SKU: UT.CH-157

Composed by Giorgio Signorile. Saddle stitching. Classical. Score and Parts. 40 pages. Ut Orpheus #CH 157. Published by Ut Orpheus (UT.CH-157).

ISBN 9790215320369. 9 x 12 inches.

Vals d'la Masca; Il racconto della Montagna; Sequenze sotterranee

Th e Alpinia Suite was commissioned and composed for the festival <> and is dedicated to my friend and colleague Elio Galvagno. It was performed for the first time on August 30, 2011, in the Church of San Giovanni in Saluzzo, by an ensemble of professional and student guitarists from all over Europe. This piece was written to commemorate the first ascent of mount Monviso, by William Mathews, Frederick Jacomb, Jean Baptiste Croz and Michel Croz, exactly 150 years before, on August 30, 1861.
The first movement is a small Waltz. I imagined a Masca (a sort of alpine pixie, a teasing sprite), dancing all around the house and playing tricks, mostly harmless and funny. The Masca is a legendary and very important character in the folklore of my valleys, and all rationally inexplicable events of everyday life are ascribed to her - such as objects that cannot be found anymore, holes in flour sacks, salt in sugar bowls...
The next two movements are a homage to the Mountains. The Tale is a sort of journal, a bright and peaceful chronicle of a hike uphill, in which the beauty of the place is highlighted by an easy harmony and a sweet melody. After this, Underground sequences evokes that same world in a darker and nocturnal way; the faster pace and the choice of repeated and varying patterns are meant to show the transformation of the former environment into something more complex and tormented. Here mountains are a metaphor of human life, warts and all: their sundrenched slopes and their green pasture grasslands, but also their icy and dangerous northern sides, which demand calm, training and caution.
(G. Signorile).

Basso (cello/double bass) (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0.0.0. - vl.2va.vc/db)

SKU: BR.EOS-8047-26

Requiem. Composed by Andre Campra. Edited by Jean-Paul Montagnier. Choir; stapled. Eulenburg Orchestral Series. Mass; Requiem; Baroque. Part. 16 pages. Duration 55'. Breitkopf and Haertel #EOS 8047-26. Published by Breitkopf and Haertel (BR.EOS-8047-26).

ISBN 9790004789766. 8.5 x 11.5 inches.

Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729.
The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected.
(Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Flute and piano

SKU: P2.10004

Composed by Ryan Woodhouse. Chamber music, 20th century. Published by Potenza Music (P2.10004).

Music possesses the amazing ability of transporting its listener to a beautiful world of sound where the pressures of everyday life can be momentarily forgotten. The escape that music can provide is the inspiration of this piece. Escape was composed for performance at the 2011 Cortona Sessions for New Music in Cortona, Italy.

SKU: SP.TS571

Composed by Tony Santorella. Collection; Recreational. Book. Santorella Publications #TS571. Published by Santorella Publications (SP.TS571).

ISBN 9781585607570.

The popularity of coloring books for the adult and young adult, while relatively recent, has become one of the faster growing recreational activities for artists of all skill levels. It took the innovation of the publisher you've known for many years, however, to marry the visual arts with music in this never before seen original concept and series, exclusively available from Santorella Publications.

Experience the high quality you've come to expect from Santorella Publications in The Colors of Music, with over 60 musical instruments depicted with intricate background patterns. Each image is printed on heavy stock on only one side of the page to avoid bleed-through. Printed in the larger 9 x 12 size, with Santorella's lay-flat binding, the book is designed to last for years, while each page is perforated for easy removal and coloring. Every illustration, while a work of art on its own, will become a one-of-a-kind original piece with your personal touch; a work of art truly suitable for framing.


Th e foreword from, The Colors of Music.


From the dawn of time, coloring has been one of the most basic forms of self-expression and is often the first creative process which many of us experience. Taking an existing image or pattern and making it our own is a uniquely personal experience. We decide which creative implements to use, perhaps crayons, pencils, or markers, and which colors to apply. As we color, we find we are in control of the entire process, limited only by our imagination, and when we are done, we have an artistic embodiment of our own personality, as unique and individual as each of us is to the other.



It makes no difference if we are relatively skilled or unskilled; we express what is in our heart and mind each and every time we set pencil to paper. As we become more experienced and skilled, we acquire the power through technique and style to more freely express what is so clear in our imagination. In time, our creations become freely expressed works of art.


The same can be said of music. The musician chooses their instrument, then takes an existing pattern of melody and chords and adds unique colors to them to make that piece of music uniquely their own. As musicians, we practice to become more experienced in order to acquire the skills to more freely add our own brand of expression and style to the music.


Both of these art forms have creativity at their core. They allow the artist or musician, both young and old, to freely express feelings within while providing a sense of joy, tranquility, and meditative focus.


The Colors of Music literally reminds us that art and music are on the same page. This trend-setting series, by Santorella Publications, will provide both the artist and musician with yet another creative channel for self-expression and individualism.

< br/>Amateur and professional alike will also appreciate the opportunity for some much-needed downtime from the hard work of practicing, or simply the rigors of everyday life, while still being able to enjoy the art form they love. After all, creating art and music is supposed to be fun.

(His Life & His Music - With Photos & 33 Classic Songs). Piano/Vocal/Guitar Artist Songbook. Softcover. 160 pages. Published by Hal Leonard

String orchestra (2 violins and bass) (ST SOL) - intermediate

SKU: HL.49027705

Composed by Ludwig van Beethoven. Edited by Walter Kolneder. Sheet music. Concertino (Chamber Orchestra). Set of solo parts. 7 pages. Duration 11'. Schott Music #CON 23-71. Published by Schott Music (HL.49027705).

ISBN 9790001111560.

Not well-known are the numerous small pieces composed by Beethoven almost 'on the side' for musical use in everyday life.The 'Landlerische Tanze' are intended to be -orchestral representing welcome playing ma-terial for small orchestras.

Choir Secular

SKU: AP.50145

Composed by Ryan Shupe. Arranged by Tim Hayden. This edition: SoundTrax CD. Choral Octavo; Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Country; Graduation; Pop; Radio; Secular. CD. Alfred Music #00-50145. Published by Alfred Music (AP.50145).

UPC: 038081573151. English.

This inspirational song provides a powerful anchor for a concert or year-long theme. A light rhythmic groove and a contemporary tune support lyrics that encourage us to laugh often and look for the beauty in everyday life. Search YouTube for the father/daughter duet cover that inspired this heartwarming arrangement. Download the free cello part and create a truly memorable performance. Great for graduations or end-of-year occasions.

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

Choral Ensemble, Piano Accompaniment, Voice

SKU: HL.14026489

Music Sales America. Education, Choral. Music Sales #GA11006. Published by Music Sales (HL.14026489).

4.25x2.75x0.67 inches.

This children's musical is a story of everyday life in Ancient Egypt. It includes nine new songs and incidental music to be composed by the children, giving a fresh and innovative approach which will give children the chance to express themselves musically. Dances are also included. Duration: 55 mins. If you need to license a school/youth theatre performance of this product, please use the online application form.

SKU: GI.G-10580

Philosopher and Practitioner in Dialogue. Composed by William Perrine. Music Education. 430 pages. GIA Publications #10580. Published by GIA Publications (GI.G-10580).

ISBN 9781622776375.

Cont ributors: Travis J. Cross (University of California–Los Angeles) • David J. Elliott (New York University) • Marissa Silverman (Montclair State University) • Jacob Wallace (South Dakota State University) • Randall Everett Allsup (Teachers College, Columbia University) • Cynthia Johnston Turner (Wilfrid Laurier University) • Carolyn Barber (University of Nebraska-Lincoln) • John Kratus (Independent Scholar) • Vincent C. Bates (Weber State University) • Thomas G. Warner, Jr. (North Carolina Agricultural and Technical State University) • Ben Hawkins (Transylvania University) • Thomas A. Regelski (SUNY Fredonia School of Music, Helsinki University of Finland) • Paul Woodford (Western University) • Charles Peltz (New England Conservatory of Music) In the wind band profession—as in every great discipline—it is critical to take stock in the big questions about where we are heading, and why, as we move through the twenty-first century. This thought-provoking book contains seven high-level exchanges between a leading wind band practitioner and a music education philosopher. Each section of The Future of the Wind Band grapples with the most profound issues facing the music education profession and the path of instrumental music education in our schools: Relevance: What relevance, if any, does the wind band have both to today’s students and to culture more broadly in the twenty-first century? What relevance does the band experience hold for students’ everyday life? Repertoire: What is the relationship between the repertoire performed by wind ensembles and the larger musical world? Pedagogy: What constitutes best practice in terms of musical pedagogy and rehearsal technique within the large-ensemble experience? Creativity: Can the wind band function as a vehicle for enhancing the individual creativity of its members? Economic Justice: How do issues of social class and the distribution of wealth relate to broader questions of social justice within the context of instrumental music education? Professional Ethics: What are the primary ethical responsibilities of the wind band conductor? Democratic Citizenship: What relationship, if any, can be drawn between membership in the wind band and citizen participation in democracy? Such exchanges can only strengthen our profession and pay rich dividends in our musical and educational work with the students we serve. Editor of this book, William (Bill) M. Perrine is Associate Professor of Music and Director of Instrumental Activities at Concordia University in Ann Arbor, Michigan, where he directs the wind ensemble, marching band, and community orchestra.

SKU: GI.G-007199

Composed by Michael O'Neill McGrath. Children. Sacred. GIA Publications #007199. Published by GIA Publications (GI.G-007199).

English.

This colorful and inviting children's alphabet book combines delightful illustrations with alliterative and whimsical (yet appropriate) Scripture story allusions. A glossary of evocative questions helps parents, grandparents, godparents, teachers, and children connect these faith stories to everyday life. This book is a fantastic example of the way Brother Mickey synthesizes color, symbol, storytelling, church history, and scripture into playful yet profound visual pra yer.

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 9:00. Published by Manhattan Beach Music.

SKU: HL.755827

Blue Elephant Design. IQ Plus. Hal Leonard #IQ-W075-00. Published by Hal Leonard (HL.755827).

UPC: 888680092009. 15.0x15.5x32.0 inches.

The Ngoma drum originated from East Africa, and is most commonly used in countries such as Tanzania, Rwanda, Uganda and Kenya. It plays a particularly important role as part of everyday life in Uganda, where the drum is often used for communication and celebration purposes. It also stood as a symbol of authority for ancient people in those countries. IQ Plus version of the Ngoma is designed to be a gathering drum, as a lead instrument as part of a rhythm band. It is created as part of our Ethnic Series line of African drums, which also include djembes and talking drums. This instrument is ideally used in a music class to play as part of a larger band, creating and maintaining the beat to songs. Children can practice rhythmic patterns or use their creativity to create new ones.

Composed by Gerald Oswald. De Haske Concert Band. Concert. Softcover. Published by De Haske Publications

Choir Secular Cello (2-Part choir)

SKU: AP.50144

Composed by Ryan Shupe. Arranged by Tim Hayden. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Country; Graduation; Pop; Radio; Secular. Choral Octavo. 12 pages. Alfred Music #00-50144. Published by Alfred Music (AP.50144).

UPC: 038081573144. English.

This inspirational song provides a powerful anchor for a concert or year-long theme. A light rhythmic groove and a contemporary tune support lyrics that encourage us to laugh often and look for the beauty in everyday life. Search YouTube for the father/daughter duet cover that inspired this heartwarming arrangement. Download the free cello part and create a truly memorable performance. Great for graduations or end-of-year occasions.

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

Choir Secular TBB choir with piano accompaniment (Men's Choir)

SKU: AP.47111

From the Broadway musical Big Fish. Composed by Andrew Lippa. Arranged by Greg Gilpin. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Broadway; Secular. Choral Octavo. 20 pages. Alfred Music #00-47111. Published by Alfred Music (AP.47111).

UPC: 038081538822. English.

From the Broadway musical Big Fish comes a song about finding the adventure in everyday life, as well as the bond between father and son. Greg Gilpin has designed this well-fitted feature for men's ensembles that is equal parts strength and sensitivity. Great messaging for guys!

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

Voice; Viola (Soprano)

SKU: PE.EP73727

Composed by Emily Howard. Mixed Instruments - Soprano and Viola; Solo Small Ensembles; Vocal. Edition Peters. Contemporary. Score. 28 pages. Edition Peters #98-EP73727. Published by Edition Peters (PE.EP73727).

ISBN 9790577024004.

Ombr a (2022) is a 40' dramatic vocalise for mezzo-soprano and viola in three parts, first performed as part of The Wernicke's Area, a mixed media installation led by ANU Productions at the Irish Museum of Modern Art. The work can be performed in its acoustic version or accompanied by sound design, created by Bofan Ma, based on the original immersive sound design from The Wernicke's Area.

The work responds to the story and medical condition of Debbie Boss, wife of ANU's co-artistic director and visual artist Owen Boss. In 2014 Debbie was admitted to hospital for surgery to remove a previously undiagnosed meningioma tumour from a part of the brain known as the Wernicke's Area. Since the surgery her everyday life has been affected by epilepsy. When Debbie suffers a seizure the symptoms manifest as audio hallucinations and aphasia: a loss of comprehension of both heard and spoken words.

Ombra takes inspiration from a series of diaries kept by Debbie, a trained soprano who can no longer remember the lyrics to even the simplest of songs. Responding to George F. Handel's 'Ombra mai fu', which was Debbie's favourite aria to perform, as well as to the mirage-like sounds of an AI-inflected Dublin cityscape, Ombra is a mental theatre, embodying an inward, ever circling wonder about meaning and comprehension.

In Ombra I, mezzo-soprano and viola unite in an intense unison exploration of a brief melodic fragment from 'Ombra mai fu'. A set of 8 short dramatic vignettes form Ombra II. In Ombra III, Handel's original melody is foregrounded with an instruction in the score 'Repeat ad infinitum'. As mezzo-soprano alternates between singing, humming and silence, viola is instructed to play at times with gradual or sudden transitions between p e dolce sempre and sounding 'like concete being grated', a final reference to the diaries.

Ombra is dedicated to Debbie.

Commission ed by ANU Productions as part of The Wernicke's Area, funded by the Arts Council.