Composed by Doris Gazda.
Edited by Amy Rosen. Carl
Fischer Young String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
16+4+16+10+10+4+10+12
pages. Carl Fischer Music
#YAS10. Published by Carl
Fischer Music (CF.YAS10).
ISBN 9780825848261.
UPC: 798408048266. 8.5 X
11 inches. Key: D
major.
When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner Rally
ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners.The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner.
Composed by
Cooper Minnis. Sps. Full
score. 24 pages. Duration
7:48. Carl Fischer Music
#SPS94F. Published by
Carl Fischer Music
(CF.SPS94F).
ISBN
9781491161838. UPC:
680160920518.
On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage
together. On November
5th, 2017, a mass
shooting took place at
the First Baptist Church
in Sutherland Springs,
Texas. Twenty-six
innocent people lost
their lives that day,
including an unborn
child. Overture to a
Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.
Born in Bicester in 1931, Anthony Hedges studied music at Keble College, Oxford,...(+)
Born in Bicester in 1931,
Anthony Hedges studied
music at Keble College,
Oxford, and left
university with a first
class honours degree and
a post-graduate degree in
composition. Following
National Service as solo
pianist and arranger with
the Royal Signals Band,
he spent the next five
years as a lecturer at
the Royal Scottish
Academy of music. During
that time he was a
regular contributor on
music to many national
newspapers and journals.
In 1962 he moved to Hull
University where, he
became, until his
retirement in 1995,
Reader in Composition. In
1972 he was elected
Chairman of The
Composers' Guild of Great
Britain, served as
joint-Chairman in 1973
and was subsequently
elected to the Guild's
Council. He has been a
member of the music
panels of Yorkshire Arts
and Lincolnshire and
Humberside Arts, the
Music Board of C.N.N.A.,
and a Council member of
the S.P.N.M. A Council
member of Westminster
Central Music Library for
15 years, he instituted
its publishing scheme for
contemporary British
scores. As a pianist he
has given regular solo
recitals, and as an
accompanist has worked
with many leading
performers. In the late
1970s he founded the
Humberside Sinfonia with
whom he gave numerous
successful concerts as
well as recording a
highly-praised LP of his
music. Anthony Hedges is
equally successful in
many types of music. His
serious music has
received wide critical
acclaim; his light music
enjoys numerous
broadcasts, recordings
and public performances.
He has also written much
music for children and
amateurs as well as
having composed for film,
stage, ballet and
television. His works
have been performed by
many major British
orchestras and heard
worldwide in many
hundreds of broadcast and
public performances. In
1991 he was the featured
composer in the Riga
Festival of British Music
and Film and was
subsequently invited back
to Latvia to conduct
further performances of
his works. A prolific
composer, much of his
output has resulted from
commissions - over 60 to
date*. In 1990 Hull
Central Library
established an Archive
collection of all his
compositions and working
sketches. A CD of his
light orchestral music
was issued in 1997
(Naxos/Marco Polo) and
many CD recordings have
followed on various
labels. In the same year
he was awarded an
honorary D.Mus. by the
University of Hull
Finnish composer Kaija Saariaho's Bosun's Cheer, composed in 2014. Included here...(+)
Finnish composer Kaija
Saariaho's Bosun's Cheer,
composed in 2014.
Included here are the
score and parts for the
Modern Instrument
Version, arranged for a
speaker, Flute, Cello and
Double Bass. Born in
Helsinki and having
studied composition there
and in Freiburg and
Paris, Kaija Saariaho has
achieved a great level of
critical and audience
acclaim now mid-career.
Her previous work was
notable for including
electronics alongside
more traditional
instruments before going
on to compose much larger
works, including the epic
opera 'L'Amour de Loin'
in 2000, a recording of
which won the 2011 Grammy
award for best opera
recording. This piece,
Bosun's Cheer, is an
exhilarating work,
including some inventive
instrumental techniques
as well as a hauntingly
poetic voice
Finnish composer Kaija Saariaho's Bosun's Cheer, composed in 2014. Included here...(+)
Finnish composer Kaija
Saariaho's Bosun's Cheer,
composed in 2014.
Included here are the
score and parts for the
Period Instrument
Version, arranged for a
speaker, Violin, Cello
and Double Bass. Born in
Helsinki and having
studied composition there
and in Freiburg and
Paris, Kaija Saariaho has
achieved a great level of
critical and audience
acclaim now mid-career.
Her previous work was
notable for including
electronics alongside
more traditional
instruments before going
on to compose much larger
works, including the epic
opera 'L'Amour de Loin'
in 2000, a recording of
which won the 2011 Grammy
award for best opera
recording. This piece,
Bosun's Cheer, is an
exhilarating work,
including some inventive
instrumental techniques
as well as a hauntingly
poetic voice
Choral SSA Choir and Piano SKU: CF.CM9704 Composed by Richard Hageman. Ar...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9704
Composed by
Richard Hageman. Arranged
by Stephen Rotz. Jbc. 12
pages. Duration 2
minutes, 49 seconds. Carl
Fischer Music #CM9704.
Published by Carl Fischer
Music (CF.CM9704).
ISBN 9781491160114.
UPC: 680160918713. Key:
F# minor. English. Sir
Rabindranath
Tagore.
Richard
Hageman (1881-1966) was a
born into a family of
musicians. As a pianist,
he performed concerts
from the age of six, and
his mastery of this
instrument is evident in
the intricate
accompaniment of this
piece. After coming to
America, (originally as
accompanist to touring
French singer Yvette
Guilbert), he worked for
a period of years as a
conductor and pianist for
the Metropolitan Opera in
New York. It was during
this period of time that
he composed Do Not Go, My
Love for solo voice,
originally dedicating it
to the operatic tenor,
George Hamlin. Hageman's
later career included
work in Hollywood, first
as a conductor, but later
as a film-score composer
and actor. Do Not Go, My
Love is well-known among
classical soloists, and
many recordings exist.
The SSA version of this
American standard brings
a vocal classic to
younger singers who might
not yet possess the
dexterity to perform the
original solo.
Rabindranath Tagore
(1861-1941) was an Indian
polymath; someone who
possesses deep knowledge
and understanding of many
disparate subjects.
Tagore's expertise
included the visual arts,
music, and poetry. Tagore
won the Nobel Prize in
Literature in 1913,
contributing to his
receiving knighthood from
King George V in 1915,
but Tagore renounced his
knighthood after the 1919
Jallianwala Bagh
massacre. There are five
Tagore museums in
Bangladesh and three in
India; at least three
universities bear his
name. Do Not Go, My Love
is taken from The
Gardener, a collection of
poems translated from
Bengali by Tagore and
published in 1915. Number
34 in the collection, and
taken by itself, the poem
might be interpreted as
someone watching over the
deathbed of a lover or
child; however, the
larger narrative woven
through The Gardener
suggests a romantic
relationship being clung
to by the speaker.
 . Richard Hageman
(1881–1966) was a
born into a family of
musicians. As a pianist,
he performed concerts
from the age of six, and
his mastery of this
instrument is evident in
the intricate
accompaniment of this
piece. After coming to
America, (originally as
accompanist to touring
French singer Yvette
Guilbert), he worked for
a period of years as a
conductor and pianist for
the Metropolitan Opera in
New York. It was during
this period of timeÂ
that he composed Do Not
Go, My Love for solo
voice, originally
dedicating it to the
operatic tenor, George
Hamlin. Hageman’s
later career included
work in Hollywood, first
as a conductor, but later
as a film-score composer
and actor. Do Not Go, My
Love is well-known among
classical soloists, and
many recordings exist.
The SSA version of this
American standard brings
a vocal
“classic†to
younger singers who might
not yet possess the
dexterity to perform the
original
solo.Rabindranath Tagore
(1861–1941) was an
Indian polymath; someone
who possesses deep
knowledge and
understanding of many
disparate subjects.
Tagore’s expertise
included the visual arts,
music, and poetry. Tagore
won the Nobel Prize in
Literature in 1913,
contributing to his
receiving knighthood from
King George V in 1915,
but Tagore renounced his
knighthood after the 1919
Jallianwala Bagh
massacre. There are five
Tagore museums in
Bangladesh and three in
India; at least three
universities bear his
name.Do Not Go, My
Love is taken
from The Gardener, a
collection of poems
translated from Bengali
by Tagore and published
in 1915. Number 34 in the
collection, and taken by
itself, the poem might be
interpreted as someone
watching over the
deathbed of a lover or
child; however, the
larger narrative woven
through The
Gardener suggests a
romantic relationship
being clung to by the
speaker. .
Eloise Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Full Score Concert Band (Score) - Grade 4 SKU: HL.44007313 Composed by Pa...(+)
Full Score Concert Band
(Score) - Grade 4
SKU:
HL.44007313
Composed
by Paul Ryan. Arranged by
Philip Sparke. Anglo
Music Concert Band.
Concert. Score Only.
Composed 2006. Anglo
Music Press #AMP149.
Published by Anglo Music
Press (HL.44007313).
Paul and Barry
Ryan were identical twin
sons of 1950's pop singer
Marion Ryan and were born
on 24th October 1948.
They were groomed for
stardom and had started
singing as a duo before
their fifteenth birthday.
They were signed by Decca
in 1965 and brilliantly
marketed as clean-cut
fashion icons. Their
first single 'Don't Bring
Me Your Heartaches'
reached the UK top twenty
but their success as twin
performers lasted only
three years. In 1968
Barry embarked on a solo
career while Paul
concentrated on writing
and producing. Eloise
with its melodramatic
vocal style and heavily
orchestrated backing was
an early success of this
new collaboration and
went on to be covered by
a variety ofartists,
including punk legends
The Damned.
De
eeneiige tweelingbroers
Paul en Barry Ryan
vormden al een zangduo
voor hun vijftiende
verjaardag. In 1965
tekenden ze een contract
bij Decca en werden ze op
een briljante manier voor
het voetlicht gebracht
als keurige
mode-idolen,maar hun
succes als
tweelingartiesten duurde
slechts drie jaar. In
1968 begon Barry aan een
solocarriere terwijl Paul
zich concentreerde op het
schrijver- en
producerschap.
Eloise, een stevig
georkestreerd,
melodramatischgezongen
nummer, was een vroege en
succesvolle vrucht van
deze samenwerking. De
song werd in de loop der
tijd vertolkt door
diverse
artiesten.
Paul
und Barry Ryan waren die
Zwillingssohne der
50er-Jahre-Popsangerin
Marion Ryan. Den beiden
Brudern war eine Zukunft
als Popstars in die Wiege
gelegt. Bereits vor ihrem
15. Geburtstag traten sie
als Duo auf. Spater
verlegte sich Paul jedoch
aufs Songschreiben und
Barry trat solo auf. Der
Hit Eloise mit
seinem melodramatischen
Gesangsstil und dem stark
orchestrierten
Hintergrund ist ein
Resultat dieser
erfolgreichen
Zusammenarbeit und wurde
in der Folge von
zahlreichen Kunstlern neu
interpretiert. Philip
Sparke machte den
Pop-Evergreen nun auch
fur Blasorchester
spielbar.
Paul et
Barry Ryan etaient
jumeaux, nes le 24
octobre 1948, fils de la
chanteuse pop des annees
1950 Marion Ryan. Formes
pour la celebrite, ils
ont commence a chanter en
duo avant l'age de quinze
ans. En 1965 ils ont
signe un contrat
d'enregistrement avec
Decca qui a commercialise
leur image soignee
d'icones de la mode. Leur
premier single Don't
Bring Me Your
Heartaches est
parvenu au top 20 du
hit-parade britannique,
mais leur succes a deux
n'a dure que trois ans.
En 1968, Barry a
entrepris une carriere
solo tandis que Paul
s'est concentre sur la
composition et la
production.
Eloise, avec son
style vocal
melodramatique et son
accompagnement tres
orchestral, etaitun
succes precoce pour cette
nouvelle collaboration.
De nombreux artistes
l'ont depuis reprise,
telles que les legendes
du punk The Damned.
Figli gemelli di
Marion Ryan, celebre
cantante pop degli anni
'50, Paul e Barry Ryan si
esibivano insieme gia
prima di aver compiuto
quindici anni.Nel 1965
firmano un contratto con
la casa discografica
Decca e commercializzano
con successo la loro
immagine di icone della
moda. Il primo single
entra nelle top 20
britanniche. Nel 1968,
Barry si lancia nella
carriera di solista,
mentre Paul si concentra
sulla composizione e la
produzione.
Eloise, una
canzone dallo stile
vocale melodrammatico che
si sviluppa su un
importante
accompagnamento
orchestrale, e uno dei
primi successi della
collaborazione tra i due
fratelli.
Soprano and Chamber Orchestra SKU: BT.EMBZ12021 Composed by Gyorgy Kurtag...(+)
Soprano and Chamber
Orchestra
SKU:
BT.EMBZ12021
Composed
by Gyorgy Kurtag. Score
Only. Composed 1982. 144
pages. Editio Musica
Budapest #EMBZ12021.
Published by Editio
Musica Budapest
(BT.EMBZ12021).
Eloise Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-149-140 Composed by Paul Ryan...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-149-140
Composed by Paul Ryan.
Arranged by Philip
Sparke. Anglo Music
Midway Series. Pop &
Rock. Score Only.
Composed 2006. Anglo
Music Press #AMP 149-140.
Published by Anglo Music
Press (BT.AMP-149-140).
9x12 inches.
English-German-French-Dut
ch.
Paul and Barry
Ryan were identical twin
sons of 1950’s pop
singer Marion Ryan and
were born on 24th October
1948. They were groomed
for stardom and had
started singing as a duo
before their fifteenth
birthday. They were
signed by Decca in 1965
and brilliantly marketed
as clean-cut fashion
icons. Their first single
‘Don’t Bring
Me Your
Heartaches’
reached the UK top twenty
but their success as twin
performers lasted only
three years. In 1968
Barry embarked on a solo
career while Paul
concentrated on writing
and producing. Eloise
with its melodramatic
vocal style and heavily
orchestrated backing was
an early success of this
new collaboration and
went on to be covered by
a variety ofartists,
including punk legends
The Damned.
De
eeneiige tweelingbroers
Paul en Barry Ryan
vormden al een zangduo
voor hun vijftiende
verjaardag. In 1965
tekenden ze een contract
bij Decca en werden ze op
een briljante manier voor
het voetlicht gebracht
als keurige
mode-idolen,maar hun
succes als
tweelingartiesten duurde
slechts drie jaar. In
1968 begon Barry aan een
solocarrière terwijl
Paul zich concentreerde
op het schrijver- en
producerschap.
Eloise, een stevig
georkestreerd,
melodramatischgezongen
nummer, was een vroege en
succesvolle vrucht van
deze samenwerking. De
song werd in de loop der
tijd vertolkt door
diverse
artiesten.
Paul
und Barry Ryan waren die
Zwillingssöhne der
50er-Jahre-Popsängerin
Marion Ryan. Den beiden
Brüdern war eine
Zukunft als Popstars in
die Wiege gelegt. Bereits
vor ihrem 15. Geburtstag
traten sie als Duo auf.
Später verlegte sich
Paul jedoch aufs
Songschreiben und Barry
trat solo auf. Der Hit
Eloise mit seinem
melodramatischen
Gesangsstil und dem stark
orchestrierten
Hintergrund ist ein
Resultat dieser
erfolgreichen
Zusammenarbeit und wurde
in der Folge von
zahlreichen Künstlern
neu interpretiert. Philip
Sparke machte den
Pop-Evergreen nun auch
für Blasorchester
spielbar.
Figli
gemelli di Marion Ryan,
celebre cantante pop
degli anni ’50,
Paul e Barry Ryan si
esibivano insieme gi
prima di aver compiuto
quindici anni.Nel 1965
firmano un contratto con
la casa discografica
Decca e commercializzano
con successo la loro
immagine di icone della
moda. Il primo single
entra nelle top 20
britanniche. Nel 1968,
Barry si lancia nella
carriera di solista,
mentre Paul si concentra
sulla composizione e la
produzione.
Eloise, una
canzone dallo stile
vocale melodrammatico che
si sviluppa su un
importante
accompagnamento
orchestrale, è uno dei
primi successi della
collaborazione tra i due
fratelli.
Eloise Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-149-010 Composed by Paul Ryan...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-149-010
Composed by Paul Ryan.
Arranged by Philip
Sparke. Anglo Music
Midway Series. Pop &
Rock. Set (Score &
Parts). Composed 2006.
Anglo Music Press #AMP
149-010. Published by
Anglo Music Press
(BT.AMP-149-010).
9x12
inches.
English-German-French-Dut
ch.
Paul and Barry
Ryan were identical twin
sons of 1950’s pop
singer Marion Ryan and
were born on 24th October
1948. They were groomed
for stardom and had
started singing as a duo
before their fifteenth
birthday. They were
signed by Decca in 1965
and brilliantly marketed
as clean-cut fashion
icons. Their first single
‘Don’t Bring
Me Your
Heartaches’
reached the UK top twenty
but their success as twin
performers lasted only
three years. In 1968
Barry embarked on a solo
career while Paul
concentrated on writing
and producing. Eloise
with its melodramatic
vocal style and heavily
orchestrated backing was
an early success of this
new collaboration and
went on to be covered by
a variety ofartists,
including punk legends
The Damned.
De
eeneiige tweelingbroers
Paul en Barry Ryan
vormden al een zangduo
voor hun vijftiende
verjaardag. In 1965
tekenden ze een contract
bij Decca en werden ze op
een briljante manier voor
het voetlicht gebracht
als keurige
mode-idolen,maar hun
succes als
tweelingartiesten duurde
slechts drie jaar. In
1968 begon Barry aan een
solocarrière terwijl
Paul zich concentreerde
op het schrijver- en
producerschap.
Eloise, een stevig
georkestreerd,
melodramatischgezongen
nummer, was een vroege en
succesvolle vrucht van
deze samenwerking. De
song werd in de loop der
tijd vertolkt door
diverse
artiesten.
Paul
und Barry Ryan waren die
Zwillingssöhne der
50er-Jahre-Popsängerin
Marion Ryan. Den beiden
Brüdern war eine
Zukunft als Popstars in
die Wiege gelegt. Bereits
vor ihrem 15. Geburtstag
traten sie als Duo auf.
Später verlegte sich
Paul jedoch aufs
Songschreiben und Barry
trat solo auf. Der Hit
Eloise mit seinem
melodramatischen
Gesangsstil und dem stark
orchestrierten
Hintergrund ist ein
Resultat dieser
erfolgreichen
Zusammenarbeit und wurde
in der Folge von
zahlreichen Künstlern
neu interpretiert. Philip
Sparke machte den
Pop-Evergreen nun auch
für Blasorchester
spielbar.
Figli
gemelli di Marion Ryan,
celebre cantante pop
degli anni ’50,
Paul e Barry Ryan si
esibivano insieme gi
prima di aver compiuto
quindici anni.Nel 1965
firmano un contratto con
la casa discografica
Decca e commercializzano
con successo la loro
immagine di icone della
moda. Il primo single
entra nelle top 20
britanniche. Nel 1968,
Barry si lancia nella
carriera di solista,
mentre Paul si concentra
sulla composizione e la
produzione.
Eloise, una
canzone dallo stile
vocale melodrammatico che
si sviluppa su un
importante
accompagnamento
orchestrale, è uno dei
primi successi della
collaborazione tra i due
fratelli.
Clarinet, Strings, percussion, tuba SKU: OT.37019 Composed by Lev Kogan. ...(+)
Clarinet, Strings,
percussion, tuba
SKU:
OT.37019
Composed by
Lev Kogan. Arranged by
Alan Kaufman. For
clarinet, strings,
percussion, and tuba.
Klezmer. Score. OR-TAV
Music Publications
#37019. Published by
OR-TAV Music Publications
(OT.37019).
ISBN
9789655050851. 8.27 x
11.69 inches.
Lev
Kogan Klezmer Dance
Suite for clarinet,
strings, percussion, and
tuba arranged by Alan
Kaufman, with cadenzas by
Gene Kavadlo Score. A
set of parts may be
ordered
separately. There is
also an edition for small
ensemble including a
score and one copy each
part, SKU 37019set I
have been Principal
Clarinetist with the
Charlotte Symphony
Orchestra, North
Carolina, since 1975. My
interest in klezmer music
began in 1984 when I
realized how unique the
clarinet voice can be in
the klezmer idiom - it is
totally different from
playing in a symphony
orchestra, and I found
that unique voice to be
very appealing. I formed
a quartet called Viva
Klezmer!, and we have
been concertizing and
recording ever
since. I discovered
Lev Kogan's Hassidic
Tunes for Clarinet and
Piano a number of years
ago and was struck by the
lovely melodies and
harmonies that Mr. Kogan
had composed. The tunes
were always enjoyed by
audiences whenever I
performed them, and it
occured to me that
several of them could be
orchestrated and grouped
together to form a very
attractive klezmer suite.
I enlisted the aid of my
talented colleague, Alan
Kaufman, and the result
is this publication.
There is dearth of
klezmer music featuring
clarinet with orchestra
or chamber ensemble, and
this publication helps
fill that void. The
suite can be performed
with orchestra or, if
percussion and tuba are
unavailable, as chamber
music with clarinet and
strings. In the absence
of tuba, the part may be
played by another bass
instrument. Gene
Kavadlo Lev Kogan
(1927-2007) was born in
Baku, Azerbaijan, and
immigrated to Israel in
1972. Kogan attended the
Moscow State Conservatory
from 1946-1952 where he
studied piano and was a
composition of Aram
Khatchturian. He has
devotred much time to the
research, creation and
performance of Jewish
music. In Israel, he has
composed many productions
for the Yiddish theater
and Chassidic, Yiddish
songs and chamber
music. Originally from
New York State, Alan
Kaufman graduated from
Potsdam State University
with a Bachelor's Degree
in Music Education and a
Master's Degree in Music
Performance in
Percussion. Since then,
he has been a performer,
arranger, educator,
producer and composer of
commercial jingles,
recordings and movie and
television soundtracks.
He has produced albums
and/or has arranged for
an array of groups from
The Buddy Rich Band to
performing with artists
as diverse as Luciano
Pavoratti and Bernadette
Peters, to Dave Brubeck
and Johnny Cash. Since
1978, Alan has resided in
Charlotte, NC where he
continues his musical
journey.
Chamber Music Clarinet, Piano, Violoncello SKU: CF.MXE19 For Bb Clarin...(+)
Chamber Music Clarinet,
Piano, Violoncello
SKU: CF.MXE19
For Bb Clarinet, Cello
and Piano. Composed
by Joshua Green. SWS the
20-pg to cover - rest
insert. Carl Fischer
Chamber Music Edition.
Set of Score and Parts.
With Standard notation.
20+4+4 pages. Carl
Fischer Music #MXE19.
Published by Carl Fischer
Music (CF.MXE19).
ISBN
9780825872945. UPC:
798408072940. 9 x 12
inches.
Winner of
the 2009 MTNA Composition
Competition, promising
young composer Joshua
Green gives us a striking
new work for clarinet,
cello and piano, borne of
an unlikely muse.
According to the
composer: For the better
part of three months I
fought an exasperating
battle. While trying to
compose a piece for
clarinet, cello, and
piano, a plethora of
distractions had consumed
my mind. This frustration
seemed to amplify with
the amount of time that
passed. It was then that
the following quotation
came to my attention:
Life does not consist
mainly, or even largely
of facts and happenings.
It consists mainly of the
storm of thoughts that is
forever flowing through
one’s head.-Mark
Twain. And so The Muse of
Distraction was born.
Rather than trying to
fight the storm of
thoughts, I allowed
myself to compose a piece
that embraced the
frustration and
irritation of those
previous three months.
Eventually these
distractions were no
longer my adversary. They
became my muse. For
advanced players. For
the better part of three
months I fought an
exasperating battle.
While trying to composea
piece for clarinet,
cello, and piano, a
plethora of distractions
had consumed my mind.This
frustration seemed to
amplify with the amount
of time that passed. It
was then that
thefollowing quotation
came to my
attention:“Life
does not consist mainly,
or even largely of facts
and happenings. It
consists mainly of
thestorm of thoughts that
is forever flowing
through one’s
head.†—Mark
TwainAnd so The Muse of
Distraction was
born.Rather than trying
to fight the “storm
of thoughts,†I
allowed myself to compose
a piecethat embraced the
frustration and
irritation of those
previous three months.
Eventually
thesedistractions were no
longer my adversary.They
became my muse.
(Cello and Piano). Composed by Edward Gregson. For Cello, Piano Accompaniment. M...(+)
(Cello and Piano).
Composed by Edward
Gregson. For Cello, Piano
Accompaniment. Music
Sales America. 52 pages.
Novello and Co Ltd.
#NOV958089. Published by
Novello and Co Ltd.
(Vocal Solos for Weddings, Baptisms, and Other Festive Occasions). By Mark Hayes...(+)
(Vocal Solos for
Weddings, Baptisms, and
Other Festive Occasions).
By Mark Hayes. For medium
low voice, piano. Sacred,
Baptism, General,
Wedding. Vocal score and
accompaniment CD.
Published by Lorenz
Publishing Company
(Vocal Solos for Weddings, Baptisms, and Other Festive Occasions). By Mark Hayes...(+)
(Vocal Solos for
Weddings, Baptisms, and
Other Festive Occasions).
By Mark Hayes. For medium
high voice, piano.
Sacred, Baptism, General,
Wedding. Vocal score and
accompaniment CD.
Published by Lorenz
Publishing Company
Handbells (3-5 octaves) - Level 2+ SKU: LO.20-1223L Composed by Kevin McC...(+)
Handbells (3-5 octaves) -
Level 2+
SKU:
LO.20-1223L
Composed
by Kevin McChesney.
Christmas, Sacred.
Handbell score. Lorenz
Publishing Company
#20/1223L. Published by
Lorenz Publishing Company
(LO.20-1223L).
UPC:
000308056600.
The
French carol comes alive
in this accessible
setting which will sound
more advanced that it
looks!
Trumpet or Cornet
Feature. Composed by
M. McDermott. Arranged by
M. McDermott. Band Music.
Score only. Duration
3:30. Published by G & M
Brand Music Publishers
(CN.S11201).
Written in
1871, Panis Angelicus was
originally scored for
tenor voice, organ, harp,
cello and double bass.
Over the years it has
been heard in many
versions. this
arrangement by Michael
McDermott for solo
trumpet and concert band,
retains the dignity and
reflective nature of the
music, providing a
concert item to grace
many
occasions.
Cesar
Franck, was a
Belgian-born (naturalized
French) composer and
organist who spent most
of his life in France,
becoming renowned as a
teacher - from 1872 until
his death he he was organ
professor at the Paris
Conservartoire - and as a
church organist. As a
composer his output
included a considerable
amount of church music;
Panis Angelicus falls
into this category.Cesar
Franck was a Belgian-born
(naturalized French)
composer and organist who
spent most of his life in
France becoming renowned
as a teacher - from 1872
until his death he he was
organ professor at the
Paris Conservartoire -
and as a church organist.
As a composer his output
included a considerable
amount of church music;
Panis Angelicus falls
into this category.
(He Is Born The Divine Christ Child). By Dale Wood. For handbells 3-octaves, org...(+)
(He Is Born The Divine
Christ Child). By Dale
Wood. For handbells
3-octaves, organ.
Christmas, Sacred.
Medium. Handbell score.
Published by Sacred Music
Press . handbell score.
Christmas, Sacred.
Choral Piano, Violin, Voice 1, Voice 2, Voice 3 SKU: CF.CM9641 He Is B...(+)
Choral Piano, Violin,
Voice 1, Voice 2, Voice 3
SKU: CF.CM9641
He Is Born.
Composed by French carol.
Arranged by Lynn Shaw
Bailey Christopher
Pillsbury. Sws.
Performance Score. 16
pages. Duration 0:02:32.
Carl Fischer Music
#CM9641. Published by
Carl Fischer Music
(CF.CM9641).
ISBN
9781491157138. UPC:
680160915699. 6.875 x
10.5 inches. Key: G
major. English, English.
Traditional 18th Century
French
Carol.
Delightfully
fresh and fun, this
Celtic-style arrangement
of the beloved French
carol He Is Born, is a
lively Christmas anthem.
Featuring a driving piano
accompaniment and
optional Celtic fiddle,
it is the perfect piece
for any occasion where
spirited holiday music is
desired. An optional
string ensemble
accompaniment is also
available on demand
(CM9503IN). Also
available for SATB Voices
(CM9503), TBB Voices
(CM9636), and SSA Voices
(CM9528). A Celtic
French Carol (He is Born)
is a spirited English
arrangement of the
traditional French Carol
Il est ne', le divin
Enfant. One of the most
famous songs of the
French repertoire, the
melody is derived from an
Eighteenth-Century Air de
Chasse (or hunting tune),
entitled La Tete Bizarde
(The Bizard Head). The
oldest known publication
of the tune is an organ
arrangement by Romary
Grosjean (1815-1888),
musicologist and organist
of the Cathedral of
Saint-Die'-des-Vosges, in
an 1862 collection of
carols entitled Airs des
Noels Lorrains. The
French text for the carol
was first published in
Dom Georges Legeay's
collection of ancient
carols, Noels anciens
(1875-1876). Il est ne',
le divin Enfant has been
translated into many
languages throughout the
world. One of the best
English translations
appeared in Walter Ehret
and George K. Evans'
collection The
International Book of
Christmas Carols
(1963). A Celtic
French Carol (He is Born)
is a spirited English
arrangement of the
traditional French Carol
Il est ne´, le divin
Enfant. One of the most
famous songs of the
French repertoire, the
melody is derived from an
Eighteenth-Century Air de
Chasse (or hunting tune),
entitled La Tete Bizarde
(The Bizard Head). The
oldest known publication
of the tune is an organ
arrangement by Romary
Grosjean (1815-1888),
musicologist and organist
of the Cathedral of
Saint-Die´-des-Vosges,
in an 1862 collection of
carols entitled Airs des
Noels Lorrains.The French
text for the carol was
first published in Dom
Georges Legeay's
collection of ancient
carols, Noels anciens
(1875-1876). Il est
ne´, le divin Enfant
has been translated into
many languages throughout
the world. One of the
best English translations
appeared in Walter Ehret
and George K. Evans'
collection The
International Book of
Christmas Carols
(1963).
Comedy in one act in
verses, with ariettes and
vaudevilles. Composed
by Adolphe Benoît
Blaise and
Marie-Justine-Benoîte
Favart. Edited by Andreas
Münzmay and Janine
Droese. This edition:
Edition of selected
works, Urtext edition.
Linen. Spectrum of
European Music Theatre in
Separate Editions 2.
Edition of selected
works, Score, Critical
commentary, USB flash
drive. Baerenreiter
Verlag #BA08812_01.
Published by Baerenreiter
Verlag (BA.BA08812-01).
ISBN 9790006543182.
33.1 x 26.5 cm inches.
Text Language: French.
Preface: Münzmay,
Andreas. Text: nach
Jean-Francois
Marmontel.
Annette
et Lubin
Justine
Favart and Adolphe
Blaise'sAnnette et
Lubinwas premiered on 15
February 1762 at the
Paris Opera-Comique - the
first new production at
that theater following
its merger with the
Comedie-Italien. It was a
resounding success: by
the time the season came
to an end, on 3 April, it
had been almost
continuously on the
program with no decline
in interest from the
public, and it remained
in the repertoire for
more than thirty years.
Countless new editions,
translations, and
parodies of the play bear
witness to its impact far
beyond the borders of
Paris. Like all of
Favart's works, it deals
with the subject of
natural love,
unencumbered by
considerations of money
or social status
endangering it from the
outside through powerful
aristocratic or wealthy
rivals. The plot is based
on a literary model, the
like-named tale by
Jean-Francois Marmontel,
which is in turn based on
a contemporary
occurrence.
Annette and her
cousin Lubin are sharply
reprimanded for their
love by an estate
administrator (Le Bailli)
who himself has designs
on Annette. He takes
advantage of Annette's
illegitimate pregnancy to
extort her: only by
marrying him can she
escape condemnation by
society and the church.
But Annette and her lover
are able to gain the
protection of the local
squire (Le Seigneur), and
the story ends happily
with a conciliatory
gesture from the lord of
the manor.
The
second volume in our
series OPERA, Annette et
Lubin, consists of a
cloth-bound book and an
Edirom file stored on a
USB card in credit-card
format. The number of
simultaneous users of the
edition's digital
component is
unlimited. Further
information on the work
and the OPERA series can
be found at http://www.
opera-edition.com/en/anne
tteetlubin_en.htm.
OPERA: Spectrum
of European Music Theatre
in Separate Editions is
dedicated to critical
editions of outstanding
works of European music
theatre from the 17th to
the 20th centuries.
Compositions of
French, Italian, German,
English, Scandinavian and
Slavic origin are being
edited. These include
specific genres which
have seldom been given
attention in editorial
undertakings until now
and which present their
own editorial problems,
such as ballet, theatre
music, melodrama or
operetta.
A new
feature is the form of
the presentation in
so-called hybrid
editions. While the
scores appear in
traditional cloth-bound
volumes, the musical and
textual sources, the
editions of the dramatic
texts, as well as the
critical commentaries are
prepared and presented on
an electronic platform
(Edirom). Thanks to
this ability to access
the underlying sources,
the editorial decisions
are completely
transparent to the
user.
This
special editorial access
being implemented by
OPERA's editions uses the
software Edirom, which
was developed in a
project of the Deutsche
Forschungsgemeinschaft
(German Research
Foundation) based at the
University of Paderborn.
All components of the
electronic part are
encoded according to the
modern standard of XML.
The text components
follow the standard of
the Text Encoding
Initiative (TEI).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
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print quality -
Superior paper and
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Handbells (3 octaves) and
handbells (5 octaves) -
Level 2
SKU:
LO.20-1080L
Composed
by Paul A. McKlveen.
Christmas, Sacred.
Handbell score. Lorenz
Publishing Company
#20/1080L. Published by
Lorenz Publishing Company
(LO.20-1080L).
UPC:
000308032376.
The
arrangement begins with
the melody entering
quietly under a canopy of
twinkling stars. It then
builds in intensity with
each succeeding verse
until the tune joyously
tolls across the land,
Born is the King of
Israel! The stars return
and peace crowns the
scene once again.
Clarinet, Strings, percussion, tuba SKU: OT.37019PARTS Composed by Lev Ko...(+)
Clarinet, Strings,
percussion, tuba
SKU:
OT.37019PARTS
Composed by Lev Kogan.
Arranged by Alan Kaufman.
For clarinet, strings,
percussion, and tuba.
Klezmer. Set of parts.
OR-TAV Music Publications
#37019PARTS. Published by
OR-TAV Music Publications
(OT.37019PARTS).
8.27
x 11.69 inches.
Lev
Kogan Klezmer Dance
Suite for clarinet,
strings, percussion, and
tuba arranged by Alan
Kaufman, with cadenzas by
Gene Kavadlo Set of
parts There is also an
edition for small
ensemble including a
score and one copy each
part, SKU 37019set I
have been Principal
Clarinetist with the
Charlotte Symphony
Orchestra, North
Carolina, since 1975. My
interest in klezmer music
began in 1984 when I
realized how unique the
clarinet voice can be in
the klezmer idiom - it is
totally different from
playing in a symphony
orchestra, and I found
that unique voice to be
very appealing. I formed
a quartet called Viva
Klezmer!, and we have
been concertizing and
recording ever
since. I discovered
Lev Kogan's Hassidic
Tunes for Clarinet and
Piano a number of years
ago and was struck by the
lovely melodies and
harmonies that Mr. Kogan
had composed. The tunes
were always enjoyed by
audiences whenever I
performed them, and it
occured to me that
several of them could be
orchestrated and grouped
together to form a very
attractive klezmer suite.
I enlisted the aid of my
talented colleague, Alan
Kaufman, and the result
is this publication.
There is dearth of
klezmer music featuring
clarinet with orchestra
or chamber ensemble, and
this publication helps
fill that void. The
suite can be performed
with orchestra or, if
percussion and tuba are
unavailable, as chamber
music with clarinet and
strings. In the absence
of tuba, the part may be
played by another bass
instrument. Gene
Kavadlo Lev Kogan
(1927-2007) was born in
Baku, Azerbaijan, and
immigrated to Israel in
1972. Kogan attended the
Moscow State Conservatory
from 1946-1952 where he
studied piano and was a
composition of Aram
Khatchturian. He has
devotred much time to the
research, creation and
performance of Jewish
music. In Israel, he has
composed many productions
for the Yiddish theater
and Chassidic, Yiddish
songs and chamber
music. Originally from
New York State, Alan
Kaufman graduated from
Potsdam State University
with a Bachelor's Degree
in Music Education and a
Master's Degree in Music
Performance in
Percussion. Since then,
he has been a performer,
arranger, educator,
producer and composer of
commercial jingles,
recordings and movie and
television soundtracks.
He has produced albums
and/or has arranged for
an array of groups from
The Buddy Rich Band to
performing with artists
as diverse as Luciano
Pavoratti and Bernadette
Peters, to Dave Brubeck
and Johnny Cash. Since
1978, Alan has resided in
Charlotte, NC where he
continues his musical
journey.
The highly acclaimed Mixed Bag series provides a great opportunity f...(+)
The highly acclaimed
Mixed Bag series
provides a great
opportunity for woodwind
players of mixed ability
to play together, and
make a perfect recital
item for young musicians
who are getting used to
playing withothers. Each
arrangement will work
with just three main
parts. Part 1 is quite
demanding but Parts 2 and
3 are easier. These parts
can be played by just one
or several players - it's
up to you! Optional
'filler' parts are
alsoincluded for
beginners.
Henry
Purcell (1659-1695)
held numerous
appointments at the Royal
court and Westminster
Abbey, and is considered
by many to be the
greatest ever
English-born composer.
His prolific workcovered
all fields: orchestral,
ecclesiastical, operatic,
theatrical, incidental,
and chamber music were
all enriched by his
output. Three of his most
popular works have been
arranged here by Graham
Lyons
He is Born Cloches [Conducteur] - Intermédiaire Hope Publishing Company
Arranged by Arnold B. Sherman. For 3 octave handbells. Ring and Sing Series. Hym...(+)
Arranged by Arnold B.
Sherman. For 3 octave
handbells. Ring and Sing
Series. Hymntune,
Children, Christmas,
Sacred. Grade 3. Handbell
score. Published by Hope
Publishing Company
Celebrate His Name this Christmas. Composed by Geron Davis, Dave Clark an...(+)
Celebrate His Name
this Christmas.
Composed by Geron Davis,
Dave Clark and Tony Wood.
Arranged by David Sloan.
Adult Musical. Choral
score. Duration 36
minutes. Published by
Word Music
(WD.080689554179).
Klezmer Dance Suite [Conducteur et Parties séparées] OR-TAV Music Publications
Clarinet, String quartet, percussion, tuba SKU: OT.37019SET Composed by L...(+)
Clarinet, String quartet,
percussion, tuba
SKU:
OT.37019SET
Composed
by Lev Kogan. Arranged by
Alan Kaufman. For
clarinet, strings,
percussion, and tuba.
Klezmer. Score and Parts.
OR-TAV Music Publications
#37019SET. Published by
OR-TAV Music Publications
(OT.37019SET).
8.27 x
11.69 inches.
Lev
Kogan Klezmer Dance
Suite for clarinet,
strings, percussion, and
tuba arranged by Alan
Kaufman, with cadenzas by
Gene Kavadlo Score and
one copy each part I
have been Principal
Clarinetist with the
Charlotte Symphony
Orchestra, North
Carolina, since 1975. My
interest in klezmer music
began in 1984 when I
realized how unique the
clarinet voice can be in
the klezmer idiom - it is
totally different from
playing in a symphony
orchestra, and I found
that unique voice to be
very appealing. I formed
a quartet called Viva
Klezmer!, and we have
been concertizing and
recording ever
since. I discovered
Lev Kogan's Hassidic
Tunes for Clarinet and
Piano a number of years
ago and was struck by the
lovely melodies and
harmonies that Mr. Kogan
had composed. The tunes
were always enjoyed by
audiences whenever I
performed them, and it
occured to me that
several of them could be
orchestrated and grouped
together to form a very
attractive klezmer suite.
I enlisted the aid of my
talented colleague, Alan
Kaufman, and the result
is this publication.
There is dearth of
klezmer music featuring
clarinet with orchestra
or chamber ensemble, and
this publication helps
fill that void. The
suite can be performed
with orchestra or, if
percussion and tuba are
unavailable, as chamber
music with clarinet and
strings. In the absence
of tuba, the part may be
played by another bass
instrument. Gene
Kavadlo Lev Kogan
(1927-2007) was born in
Baku, Azerbaijan, and
immigrated to Israel in
1972. Kogan attended the
Moscow State Conservatory
from 1946-1952 where he
studied piano and was a
composition of Aram
Khatchturian. He has
devotred much time to the
research, creation and
performance of Jewish
music. In Israel, he has
composed many productions
for the Yiddish theater
and Chassidic, Yiddish
songs and chamber
music. Originally from
New York State, Alan
Kaufman graduated from
Potsdam State University
with a Bachelor's Degree
in Music Education and a
Master's Degree in Music
Performance in
Percussion. Since then,
he has been a performer,
arranger, educator,
producer and composer of
commercial jingles,
recordings and movie and
television soundtracks.
He has produced albums
and/or has arranged for
an array of groups from
The Buddy Rich Band to
performing with artists
as diverse as Luciano
Pavoratti and Bernadette
Peters, to Dave Brubeck
and Johnny Cash. Since
1978, Alan has resided in
Charlotte, NC where he
continues his musical
journey.