(Edition de 1611). By John Baston (1711-1733). Edited by Suzi Mohlmeier, Frederi...(+)
(Edition de 1611). By
John Baston (1711-1733).
Edited by Suzi Mohlmeier,
Frederique Thouvenot. For
Recorder and mixed
instruments. This
edition: Facsimile.
Collection Dominantes.
Score. 79 pages.
Published by Anne Fuzeau
Productions - France
Piano SKU: M7.AHW-3027 For the Modern Improviser. Composed by Olig...(+)
Piano
SKU:
M7.AHW-3027
For
the Modern
Improviser. Composed
by Oligario Diaz. Sheet
music. 174 pages. Charles
Colin Corp. #AHW 3027.
Published by Charles
Colin Corp.
(M7.AHW-3027).
English.
This
theoretical book is meant
to improve contemporary
jazz styles techniques
for all musician players
of modern jazz. We will
divide this book into
scale exercises, arpeggio
exercises, jazz line
phrases as well as
contemporary chord
progressions. Exercises
consist of diatonic and
chromatic exercises; and,
line phrases, consist of
jazz solos by great
musicians such as Miles
Davis, Bill Evans, John
Coltrane, Freddy Hubbard,
Woody Shaw, Wayne
Shorter, Joe Henderson,
Chick Corea, Herbie
Hancock, Joe Farrel, Dave
Liebman, Bob Berg,
Michael and Randy
Brecker, Jerry Bergonzi,
George Garzone, Tom
Harrel, Chris Potter,
Brad Mehldau, Joey
Calderazzo, Kenny
Garrett, Branford
Marsalis, Walt Weiskopf,
Rich Perry, Seamus Blake,
Alex Sipiagin and many
other well known
musicians these days. The
majority of these
exercises should be
transposed to all twelve
(12) tones, so we can
achieve perfect
coordination. Major
chords, Minor chords and
Dominant chords will be
extended to their highest
level, in scales,
arpeggios and chromatic
form. There will not be
key signature centres, so
we will work all
exercises in accidental
way. These exercises were
made as an extension of
my first book 'Improvise
Now'. There are as well
many improvisational
lines transcribed from
some of the previously
mentioned musicians.
Vaggvisa Chorale 3 parties SAB Gehrmans Musikforlag
SAB choir SKU: GH.CG-3922 Det finns sa manga lekar. Composed by Jo...(+)
SAB choir
SKU:
GH.CG-3922
Det
finns sa manga lekar.
Composed by John Norrman.
Octavo. With Language:
Swedish. Gehrmans
Musikforlag #CG 3922.
Published by Gehrmans
Musikforlag (GH.CG-3922).
ISBN 9790070009997.
185 x 262 mm inches.
Text: Axel
Fredenholm.
Percussion SKU: GI.G-7352INST Finger Cymbals and Hand Drum. Arrang...(+)
Percussion
SKU:
GI.G-7352INST
Finger Cymbals and
Hand Drum. Arranged
by Andrew P. Fredel. This
edition: Instrument
edition. Eastertide,
Easter Day, Easter 2 A,
Easter 2 B, Easter 2 C.
Tune Name: O Filii Et
Filiae. Sacred.
Instrumental part(s). 2
pages. GIA Publications
#7352INST. Published by
GIA Publications
(GI.G-7352INST).
Translation: John
Mason Neale. Text by Jean
Tisserand.
Percussi
on part is for hand drum
and finger cymbals.
Chamber Music Tenor Saxophone SKU: CF.O5302 70 Repertoire Favorites fo...(+)
Chamber Music Tenor
Saxophone
SKU:
CF.O5302
70
Repertoire Favorites for
Young Players.
Composed by Alfred Lee,
Charles Lawlor, E.
Kaillmark, Emile
Waldteufel, Franz Joseph
Haydn, George Poulton,
Henri Hemy, Henry Work,
Ion Ivanovici, Jacques
Offenbach, James Blake,
James Walton, John Philip
Sousa, John Stafford
Smith, Samuel Ward,
Thomas Bayly, and etc.
Arranged by Andrew
Balent. Concert Band
Method. Sounds
Spectacular - Solo
Ensemble Series.
Classical. Textbook -
Student. With Standard
notation. 24 pages. Carl
Fischer Music #O5302.
Published by Carl Fischer
Music (CF.O5302).
ISBN
9780825820816. UPC:
798408020811. 9 X 12
inches.
Hardcover, German text SKU: HL.49019070 Dramaturgie einer Gattung....(+)
Hardcover, German text
SKU: HL.49019070
Dramaturgie einer
Gattung. Composed by
Joerg Rothkamm. This
edition: Hardback/Hard
Cover. Book. Edition
Schott. Classical
Reference, German
Edition. Hardcover. 384
pages. Schott Music #ED
21307. Published by
Schott Music
(HL.49019070).
Choral (Preview Pak) SKU: HL.117739 A Blockbuster Musical for Young Vo...(+)
Choral (Preview Pak)
SKU: HL.117739
A Blockbuster Musical
for Young Voices.
Composed by John Jacobson
and Roger Emerson.
ExpressiveArts.
Christmas, Elementary,
Holiday, Musicals. 40
pages. Published by Hal
Leonard (HL.117739).
ISBN 9781480333888.
UPC: 884088890315.
6.75x10.5 inches. John
Jacobson/Roger
Emerson.
Grab your
cameras! We're makin' a
movie about the one and
only Santa Claus –
but what style of movie
fits the greatest elfin
hero of all time? Thanks
to a little help from
Cecil B. DeGrille, Alfred
Pitchfork, Steven
Reelberg and a few other
illustrious filmmakers, a
young group of aspiring
directors experience
movie-making like never
before, from Epic
Extravaganza and Film
Noir to Spaghetti Western
and Super-hero-adventure
film. Watch out,
Hollywood! This musical
offers options for a
simple or elaborate
production, including the
choice of two endings and
suggestions for producing
your very own movie.
We'll even show you how!
Either way – it
will be a blockbuster!
This 40-minute musical
features six original
songs and connecting
script with over 50
speaking parts. The
Teacher Edition includes
piano/vocal song
arrangements and
choreography, script,
helpful production guide
and teaching objectives
linked to the National
Standards for each song.
For added value, the
ready-to-use student
books include songs and
script, and will enhance
the musical experience
for your young aspiring
actors/singers! Available
separately: Teacher
Edition, Singer 5-Pak,
Preview CD (with vocals &
dialog), Preview Pak (1
singer book and 1 Preview
CD),
Preformance/Accompaniment
CD, and Performance
Kit/CD (Teacher, 20
Singer books and P/A CD).
Approximate Performance
Time: 40 minutes.
Suggested for grades
4-8.
By David Marlatt. For Brass Choir (5.4.3.1.1.perc). Brass - Brass Choir. Eighth ...(+)
By David Marlatt. For
Brass Choir
(5.4.3.1.1.perc). Brass -
Brass Choir. Eighth Note
Publications.
Contemporary. Duration
00:04:45. Published by
Eighth Note Publications
Chamber Music Bells, Marimba, Oboe, Xylophone SKU: CF.O5301 70 Reperto...(+)
Chamber Music Bells,
Marimba, Oboe, Xylophone
SKU: CF.O5301
70 Repertoire
Favorites for Young
Players. Composed by
Alfred Lee, Charles
Lawlor, E. Kaillmark,
Emile Waldteufel, Franz
Joseph Haydn, George
Poulton, H. Work, Henri
Hemy, Ion Ivanovici,
Jacques Offenbach, James
Blake, James Walton, John
Philip Sousa, John
Stafford Smith, Juventino
Rosas, Thomas Bayly, and
etc. Arranged by Andrew
Balent. Concert Band
Method. Sounds
Spectacular - Solo
Ensemble Series. Textbook
- Student. With Standard
notation. 24 pages. Carl
Fischer Music #O5301.
Published by Carl Fischer
Music (CF.O5301).
ISBN
9780825820809. UPC:
798408020804. 9 X 12
inches.
Brass SKU: FP.FZZ14 Composed by John Golland and Newsome. Published by Fo...(+)
Brass
SKU:
FP.FZZ14
Composed by
John Golland and Newsome.
Published by Forsyths
Publications (FP.FZZ14).
ISBN
979-0-57050-334-6.
The third of three superb
sets of new music and
arrangements for brass
ensembles. Includes: 1.
March Commodore a!! Ifor
James: A striking piece
well suited for
performance in concert or
on the march. 2. The
Aristocrat a!! Roy
Newsome: A not too
difficult trombone solo,
providing animated,
musical fun for band and
audience alike, and which
gives the trombonist
ample opportunity to play
the fool. 3. Waltz of the
Clouds a!! Alfred
Ashpole: A Viennese style
waltz by a composer with
unparalleled experience
of writing for bands.
Pink Panther a!! Mancini,
arr. John Golland: The
original Mancini Pink
Panther translated for
brass band. Watch out for
his sneaky rhythms, which
need proper dance band
treatment.
Premiere Concertante Orchestre d'harmonie [Conducteur] - Intermédiaire Opus III Wind Orchestra Publications
Grade 3.5 SKU: CL.012-1827-01 Concert Band. Bach Series arranged by Alfre...(+)
Grade 3.5
SKU:
CL.012-1827-01
Concert Band. Bach Series
arranged by Alfred Reed.
Audio recording available
separately (items
CL.WFR324 & CL.WFR195).
Extra full score.
Composed 1985. Opus III
Wind Orchestra
Publications
#012-1827-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-1827-01).
This
brilliantly conceived
concert overture by
award-winning composer,
John Cacavas displays the
mark of a true craftsman.
A sparkling contest
showpiece featuring all
sections of the band.
About Bach
Series arranged by Alfred
Reed
Maste
rful settings for concert
band by the venerable
Alfred Reed, these works
have been scored to
achieve richness and
beauty without detracting
from the textural
construction created by
Bach himself. Marvelous
educational and program
material!
SATB chorus and piano SKU: JK.00423 Composed by Alfred Tennyson and Crawf...(+)
SATB chorus and piano
SKU: JK.00423
Composed by Alfred
Tennyson and Crawford
Gates. Arranged by Jackie
Frost Halversen. Choral
SATB, Difficulty Medium,
Piano Choir, Seasonal
Music Christmas,
Christmas. Christian,
Inspirational. Duration
5:45. Jackman Music
Corporation #00423.
Published by Jackman
Music Corporation
(JK.00423).
Luke 2:14,
Doctrine and Covenants
3:1-3.
A carol
medley for mixed chorus
(SATB), piano and
congregation. Composer
: Alfred Tennyson and
Crawford Gates
Arranger: Jackie Frost
Halversen Lyricist:
Henry Wadsworth
Longfellow and John
Baptiste
Calkin Performance
time: 5:45 Reference:
Luke 2:14, Doctrine and
Covenants 3:1-3.
SKU: BA.BVK02090 Gespräche und Essays. Edited by Stephan Mös...(+)
SKU: BA.BVK02090
Gespräche und
Essays. Edited by
Stephan Mösch.
Hardback. Book. 401
pages. Baerenreiter
Verlag #BVK02090_00.
Published by Baerenreiter
Verlag (BA.BVK02090).
ISBN 9783761820902.
21.5 x 15.5 cm inches.
Language: German.
Preface: Mosch,
Stephan.
This book
is in
German.
,,Weil
jede Note zahlt(Because
Every Note Counts) - this
is the credo regarding
interpretation which
Alfred Brendel formulates
in this book. It is an
invitation to reflect
about how to deal with
Mozart's music, about
what we generally call
,,interpretationand what
has undergone fundamental
changes again and again
in the course of the last
100 years.
Famous
Mozart interpreters and
world-renowned
musicologists share their
experiences and insights
in conversations and
essays: What did it mean
and what does it mean to
perform
Mozart?
From the
contents: - How does
Mozart compose? About his
scores and compositional
procedures - Why
spontaneity and risk are
so important: on
performance practice -
Mozart's theatre of
diversity: questions
about the human existence
on stage - From
Richard Strauss to
Nikolaus Harnoncourt: on
the artistic physiognomy
of great Mozart
conductors - How did
composers of the 20th
century respond to
Mozart? - Music
festival history is
German history: a
documentary on the
Mozartfest
Wurzburg
Conversat
ions by Markus Thiel
with Alfred Brendel, John
Eliot Gardiner, Christian
Gerhaher, Brigitte
Fassbaender, Hartmut
Haenchen, Markus
Hinterhauser, Rene
Jacobs, Frank Peter
Zimmermann and Tabea
Zimmermann
Authors
of the Essays Ulrich
Konrad, Robert D. Levin,
Stephan Mosch, Wolfgang
Rathert and Thomas
Seedorf
Documentar
y Part Hansjorg Ewert,
Christian Lemmerich,
Dimitra Will, Renate
Ulm
The
Editor Stephan Mosch
is Professor for
Aesthetics, History and
Artistic Practice at the
Hochschule fur Musik
Karlsruhe. Barenreiter
already published his
books ,,Komponieren fur
Stimme. Von Monteverdi
bis Rihm. Ein
Handbuch(BVK 2379) as
well as ,,Weihe,
Werkstatt, Wirklichkeit.
Wagners ,,Parsifalin
Bayreuth 1882-1933(BVK
2326).
In
collaboration with the
Mozartfest Wurzburg which
celebrates its 100th
Anniversary in
2021.
Choral Children's choir, Piano SKU: PR.312419290 From Terra Nostra...(+)
Choral Children's choir,
Piano
SKU:
PR.312419290
From
Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2
minutes, 35 seconds.
Theodore Presser Company
#312-41929. Published by
Theodore Presser Company
(PR.312419290).
ISBN
9781491137932. UPC:
680160692620. Texts from
The King James Bible,
creation myths from
India, North America, and
Egypt; Edna St. Vincent
Millay, Percy Bysshe
Shelley, Walt Whitman,
Lord Byron, Esther
Iverem, William
Wordsworth, Wendell
Berry, Lord Alfred
Tennyson, Charles Mackay,
William .
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
String Quartet SKU: HL.14030965 Music Sales America. Classical. Set of Pa...(+)
String Quartet
SKU:
HL.14030965
Music
Sales America. Classical.
Set of Parts. Music Sales
#KP00509. Published by
Music Sales
(HL.14030965).
ISBN
9788759861448.
English.
Version
for String Quartet. Score
available: KP00510 The
composer writes: 'In
February 1987 I saw in
the Tate Gallery in
London a painting by the
Victorian English painter
John William Waterhouse.
The painting kept
haunting my memory, and
as I at the same time
planned to write a piece
for solo viola, my ideas
for the music and the
memory of the painting
fused more and more. I
decided, then, to let my
piece borrow the title of
Waterhouse's paint-ing:
'The Lady of Shalott'.
The picture of a
mad-like, pale, and
perhaps singing woman
alone in a boat without
sculls, which calmly
slips out from the rush
growth of the river is an
illustration for the
ending of Alfred
Tennyson's poem by the
same title, which again
plaits into the old
English legends about
King Arthur. My piece
tries to meander - like
the river at Camelot -
among these sources. As
suggested above the piece
was originally written
for viola solo. The
version for string
quartet is from
1993.'.
From Terra Nostra.
Composed by Stacy Garrop.
Full score. Duration
3:15. Theodore Presser
Company #312-41902S.
Published by Theodore
Presser Company
(PR.31241902S).
UPC:
680160690589.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
SKU: GI.G-317131 Thoughts, Analysis and Commentary on Contemporary Mas...(+)
SKU: GI.G-317131
Thoughts, Analysis and
Commentary on
Contemporary Masterpieces
for Wind Band.
Composed by Timothy
Salzman. Music Education.
164 pages. GIA
Publications #317131.
Published by GIA
Publications
(GI.G-317131).
ISBN
9780634058271. UPC:
073999135855.
A
Composer's Insight,
Volume 1 - with a
foreword by Michael
Colgrass - is the first
in a five-volume series
on major contemporary
composers and their works
for wind band. Included
in this initial volume
are rare,
behind-the-notes
perspectives acquired
from personal interviews
with each composer. An
excellent resource for
conductors, composers or
enthusiasts interested in
acquiring a richer
musical understanding of
the composers' training,
compositional approach,
musical influences and
interpretative ideas.
Features the music of:
Timothy Broege, Michael
Colgrass, Michael
Daugherty, David
Gillingham, John
Harbison, Karel Husa,
Alfred Reed and
others.
Choral Children's choir, Piano SKU: PR.312419260 From Terra Nostra...(+)
Choral Children's choir,
Piano
SKU:
PR.312419260
From
Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2:45.
Theodore Presser Company
#312-41926. Published by
Theodore Presser Company
(PR.312419260).
ISBN
9781491137901. UPC:
680160692590.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Joy To the World Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-2401-01 Composed by Tatgenhorst. Concert Band. Classi...(+)
Grade 3
SKU:
CL.012-2401-01
Composed by Tatgenhorst.
Concert Band. Classics
Series. Audio recording
available separately
(item CL.WFR328). Sacred,
Christmas. Extra full
score. Composed 1991.
Duration 2 minutes, 29
seconds. Opus III Wind
Orchestra Publications
#012-2401-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-2401-01).
An exciting
transcription of
John’s arrangement
as recorded on his CBS
album, Turned On
Christmas recorded with
the London Royal
Philharmonic Orchestra.
Incredibly Electric!
About C.L.
Barnhouse Classics
Series
Und
er the editorial
supervision of Dr. Alfred
Reed, these classics from
master composers have
been adapted and arranged
for concert band. A
perfect way to acquaint
concert band performers
and audiences with some
of the greatest classical
music of all time!
Railways 1846 Chorale TTBB TTBB, Piano Theodore Presser Co.
Choral TTBB choir, piano SKU: PR.312419270 From Terra Nostra. Comp...(+)
Choral TTBB choir, piano
SKU: PR.312419270
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2
minutes. Theodore Presser
Company #312-41927.
Published by Theodore
Presser Company
(PR.312419270).
ISBN
9781491137918. UPC:
680160692606. English.
Charles
Mackay.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
String Quartet SKU: HL.14030964 Composed by Bent Sorensen. Music Sales Am...(+)
String Quartet
SKU:
HL.14030964
Composed
by Bent Sorensen. Music
Sales America. Classical.
Score. 10 pages. Music
Sales #KP00510. Published
by Music Sales
(HL.14030964).
ISBN
9788759861455.
English.
The
Composer writes: 'In
February 1987 I saw in
the Tate Gallery in
London a painting by the
Victorian English painter
John William Waterhouse.
The painting kept
haunting my memory, and
as I at the same time
planned to write a piece
for solo Viola, my ideas
for the music and the
memory of the painting
fused more and more. I
decided, then, to let my
piece borrow the title of
Waterhouse's painting:
The Lady Of Shalott. The
picture of a mad-like,
pale, and perhaps singing
woman alone in a boat
without sculls, which
calmly slips out from the
rush growth of the river
is an illustration for
the ending of Alfred
Tennyson's poem by the
same title, which again
plaits into the old
English legends about
King Arthur. My piece
tries to meander - like
the river at Camelot -
among these sources.' As
suggested above the piece
was originally written
for Viola solo. This
version for String
Quartet is from 1993.
Choral SATB choir, piano SKU: PR.312419280 From Terra Nostra. Comp...(+)
Choral SATB choir, piano
SKU: PR.312419280
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 12
pages. Duration 5:30.
Theodore Presser Company
#312-41928. Published by
Theodore Presser Company
(PR.312419280).
ISBN
9781491137925. UPC:
680160692613.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
TTBB choir, piano accompaniment, cello - Early intermediate SKU: GI.WJMS1192<...(+)
TTBB choir, piano
accompaniment, cello -
Early intermediate
SKU: GI.WJMS1192
Composed by John Helgen.
Jo-Michael Scheibe Choral
Series. Classical.
Octavo. 20 pages. Walton
Music #WJMS1192.
Published by Walton Music
(GI.WJMS1192).
UPC:
785147031963. English.
Text by Alfred
Tennyson.
This
fantastic poem is set
here for TTBB choir.
Dynamic and soaring with
piano and cello.
High Flight Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. C...(+)
Choral SATB Choir and
Piano
SKU:
PR.312419020
From
Terra Nostra.
Composed by Stacy Garrop.
Sws. Performance Score.
12 pages. Duration 3:15.
Theodore Presser Company
#312-41902. Published by
Theodore Presser Company
(PR.312419020).
ISBN
9781491131862. UPC:
680160680474. 6.875 x
10.5 inches.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?