Composed
by R. Alan Carter. Sws.
Bps. Full score. 12
pages. Duration 1:45.
Carl Fischer Music
#BPS130F. Published by
Carl Fischer Music
(CF.BPS130F).
ISBN
9781491156278. UPC:
680160914814. 9 x 12
inches.
The
Kolomoki Mounds is one of
the largest and earliest
Woodland Period earthwork
mound complexes in the
Southeastern United
States and the largest in
Georgia. These mounds
were constructed between
350-600 A.D. The eight
mounds include a Great
Temple Mound, a
ceremonial mound, several
burial mounds and a large
plaza in the center where
some 1,500 residents
lived in a large village
of thatched houses.
Kolomoki celebrates the
Swift Creek and Weeden
Island Indian cultures.
Using the first six notes
for young band, the piece
begins with a rhythmic
statement from the brass
and percussion. A simple
melody is introduced by
the woodwinds and later
found in the trumpet
part. The middle section
features smaller
sections. The piece ends
with restatement of the
main theme with a
woodwind counter melody.
This piece is designed to
make your beginners sound
great. The
“Kolomoki
Mounds†is one of
the largest and earliest
Woodland Period earthwork
mound complexes in the
Southeastern United
States and the largest in
Georgia. These mounds
were constructed between
350–600 A.D. The
eight mounds include a
Great Temple Mound, a
ceremonial mound, several
burial mounds and a large
plaza in the center where
some 1,500 residents
lived in a large village
of thatched
houses.Kolomoki
celebrates the Swift
Creek and Weeden Island
Indian cultures. Using
the first six notes for
young band, the piece
begins with a rhythmic
statement from the brass
and percussion. A simple
melody is introduced by
the woodwinds and later
found in the trumpet
part. The middle section
features smaller
sections. The piece ends
with restatement of the
main theme with a
woodwind counter melody.
This piece is designed to
make your beginners sound
great.
Composed by
R. Alan Carter. Folio.
Bps. Set of Score and
Parts.
8+2+8+2+5+2+2+8+3+6+2+3+1
+1+2+1+12 pages. Duration
1:45. Carl Fischer Music
#BPS130. Published by
Carl Fischer Music
(CF.BPS130).
ISBN
9781491156261. UPC:
680160914807. 9 x 12
inches.
The
Kolomoki Mounds is one of
the largest and earliest
Woodland Period earthwork
mound complexes in the
Southeastern United
States and the largest in
Georgia. These mounds
were constructed between
350-600 A.D. The eight
mounds include a Great
Temple Mound, a
ceremonial mound, several
burial mounds and a large
plaza in the center where
some 1,500 residents
lived in a large village
of thatched houses.
Kolomoki celebrates the
Swift Creek and Weeden
Island Indian cultures.
Using the first six notes
for young band, the piece
begins with a rhythmic
statement from the brass
and percussion. A simple
melody is introduced by
the woodwinds and later
found in the trumpet
part. The middle section
features smaller
sections. The piece ends
with restatement of the
main theme with a
woodwind counter melody.
This piece is designed to
make your beginners sound
great. The
“Kolomoki
Mounds†is one of
the largest and earliest
Woodland Period earthwork
mound complexes in the
Southeastern United
States and the largest in
Georgia. These mounds
were constructed between
350–600 A.D. The
eight mounds include a
Great Temple Mound, a
ceremonial mound, several
burial mounds and a large
plaza in the center where
some 1,500 residents
lived in a large village
of thatched
houses.Kolomoki
celebrates the Swift
Creek and Weeden Island
Indian cultures. Using
the first six notes for
young band, the piece
begins with a rhythmic
statement from the brass
and percussion. A simple
melody is introduced by
the woodwinds and later
found in the trumpet
part. The middle section
features smaller
sections. The piece ends
with restatement of the
main theme with a
woodwind counter melody.
This piece is designed to
make your beginners sound
great.
Violin and Piano - easy SKU: BT.EMBZ6311 By Lenkei Gabriella. EMB Music f...(+)
Violin and Piano - easy
SKU: BT.EMBZ6311
By Lenkei Gabriella. EMB
Music for Beginners.
Educational Tool. Book
Only. Composed 1970. 52
pages. Editio Musica
Budapest #EMBZ6311.
Published by Editio
Musica Budapest
(BT.EMBZ6311).
English-German-Hungari
an.
The volumes of
the series 'Music for
Beginners' cover the
entire music literature
from the earliest
centurties to our days.
The material of the
individual volumes
containing short, easy
pieces to be played in
the first three-four
years of studying the
instrument has been
compiled by accomplished
music teachers. The
majority of the
contemporary works
included in the voluumes
have been published in
this series for the first
time.
(for two violins) Composed by Bela Bartok (1881-1945). For violin duet. Format: ...(+)
(for two violins)
Composed by Bela Bartok
(1881-1945). For violin
duet. Format:
instrumental duet book.
With standard notation.
20th Century and
Hungarian. 51 pages.
8.5x11 inches. Published
by Boosey and Hawkes.
Piano quartet after K452 Piano Quatuor: piano, violon, alto, violoncelle [Conducteur et Parties séparées] Edition HH
By Wolfgang Amadeus Mozart (1756-1791). Edited by Christopher Hogwood. For violi...(+)
By Wolfgang Amadeus
Mozart (1756-1791).
Edited by Christopher
Hogwood. For violin,
viola, cello, pianoforte.
Full score and parts. 45
2x12 8 24(xvii) pages.
Duration 25 minutes.
Published by Edition HH
Music Publishers
3. Kalamajko
tanzt!. Composed by
Fischbach. Sheet music.
Schott Chorblattreihe
(Choral Music). Choral
Score. 4 pages. Schott
Music #CHBL 425.
Published by Schott Music
(HL.49026732).
Piano Trio SKU: BR.MR-2297 Composed by Franz Xaver Kleinheinz. Chamber mu...(+)
Piano Trio
SKU:
BR.MR-2297
Composed
by Franz Xaver
Kleinheinz. Chamber
music; stapled. Musica
Rara.
Edition in
cooperation with Leopold
Mozart Competition,
Augsburg
Classical
period. Score. 56 pages.
Breitkopf and Haertel #MR
2297. Published by
Breitkopf and Haertel
(BR.MR-2297).
ISBN
9790004488645. 9 x 12
inches.
Music in
the homes of Vienna's
aristocratsFranz Xaver
Kleinheinz was employed
at the court of Prince
Elector Karl Theodor in
Munich until 1799, when
he left for Vienna after
the Prince's death. There
he met Beethoven, who was
five years younger than
Kleinheinz and who also
very much admired him, so
much so that Beethoven
entrusted the young
musician with
arrangements of his own
works. Moreover,
Kleinheinz most likely
owed it to Beethoven's
recommendations that he
obtained access to the
most prestigious noble
homes of the city, where
he acquired an
outstanding reputation as
a piano teacher. This is
when he composed the
Piano Trio op. 13, which
is now being presented in
a modern edition. The
title page of the sole
surviving source - an
alternative clarinet part
that is unfortunately no
longer extant - refers to
an edition published in
Vienna in
1802.
Edition in
cooperation with Leopold
Mozart Competition,
Augsburg.
Composed by Johann
Matthias Sperger. Edited
by Kalinowski. Arranged
by Kalinowski. Sheet
music. Friedrich
Hofmeister Musikverlag
#FH 3295. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-3295).
Alleluia Orchestre d'harmonie - Avancé Hal Leonard
Concert Band - Grade 5 SKU: HL.4003158 Composed by Samuel R. Hazo. MusicW...(+)
Concert Band - Grade 5
SKU: HL.4003158
Composed by Samuel R.
Hazo. MusicWorks Grade 5.
Hymn, Sacred. 16 pages.
Published by Hal Leonard
(HL.4003158).
UPC:
884088651343. 10.5x14
inches.
Commissione
d by the award-winning
Kalamazoo (MI) Concert
Band, Alleluia is
a convergence of
hauntingly emotive themes
that culminate in
breath-taking builds. The
Kalamazoo Gazette
described it as the
“pinnacle of the
concert” in which
it was premiered, adding
that Hazo's master
composition takes the
listener from
“...bells and
chimes to full Hosannas.
The result was
transfiguring! It first
fades like a sunset, then
explodes in white light,
bringing the audience to
their feet.”
Written for mature
ensembles, this work will
have a powerful impact on
the performers as well as
all who hear it.
Duration: 7:55.
Percussion solo SKU: BR.EB-9380 Seismic Construction in 3 Parts. C...(+)
Percussion solo
SKU:
BR.EB-9380
Seismic
Construction in 3
Parts. Composed by
Johannes Maria Staud.
Solo instruments;
stapled. Edition
Breitkopf. World
premiere: Vienna, October
17, 2020 Commissioned by
KolnMusik GmbH as a part
of the Non Beethoven
project of the Kolner
Philharmonie for 2020,
Wiener Konzerthaus and
Martin Grubinger /
Percussive Planet. New
music (post-2000); Music
post-1945. Score.
Composed 2019/20. 52
pages. Duration 16'.
Breitkopf and Haertel #EB
9380. Published by
Breitkopf and Haertel
(BR.EB-9380).
ISBN
9790004188507. 10.5 x 14
inches.
,,Trau er
nur dem holzernen Freund
nicht. Er ist manchmal
ein lederner (aus den
Beethoven-Konversationshe
ften) Dieses
Schlagzeugtrio, das in
enger Zusammenarbeit mit
den Widmungstragern
entstanden ist, besteht
aus drei Teilen. Es wird
durch die schiere Freude
am dramaturgisch
gebundelten Konstruieren
entlang seismischer
Bruchlinien gepragt. Die
drei Percussion-Spieler
wechseln wahrend des
Werkes zwischen drei
Setups an verschiedenen
Spielpositionen - vom
Buhnenhintergrund, uber
die Mitte der Buhne bis
vorne an der Buhnenrampe.
Dabei wird jeweils ein
anderes Klangmaterial, im
ersten Teil (Part I) das
Fell, im zweiten Teil
(Part II) das Metall und
im dritten Teil (Part
III) das Holz in den
Mittelpunkt gestellt.
Part I (5'30'') ist mit
drei O-Daikos besetzt,
die mit Fingern, Handen,
Fausten, Superballs und
Holzstaben gespielt
werden. Part II (6'00'')
ist um drei
Glockenspiele, drei
Vibraphone und drei
Sixxen gruppiert und
integriert auch
Metallinstrumente wie
Chinese Opera Gongs,
Mini-Tam-Tams und
Metalltonnen, die mit
Fussmaschine gespielt
werden. In Part III
(4'00'') spielen alle
drei Musiker mit
Rundstaben, Handen und
Rohrenglockenhammern das
mit sieben massiven
Balken aus Eschenholz
besetzte baskische
Nationalinstrument
Txalaparta, das auch
seine ganz eigene
Geschichte im Widerstand
gegen die Franco-Diktatur
hat. Reizvoll war fur
mich sowohl, dass man zu
dritt auf diesem
archaischen Instrument
wirklich aberwitzig
schnelle Rhythmen spielen
kann, als auch, dass
dieses Instrument auf
Konzertpodien klanglich
wie optisch noch vollig
neu ist - und dies, trotz
aller Schlichtheit, bei
einem unglaublichen
Reichtum an
Klangmoglichkeiten.
Kleine rhythmische
Zellen, die sich immer
wieder zu vielfaltigen
neuen Texturen - bis zur
klanglichen Entfesselung
- zusammenballen und eine
feine Differenzierung und
Dynamisierung der
Anschlagsmoglichkeiten
bestimmen dieses Werk.
Auch, wenn nur Part II
durch den Einsatz
bestimmter Tonhohen
gepragt ist (durch die
Verwendung der von Yannis
Xenakis erfundenen Sixxen
durchaus mikrotonal), so
gibt es doch unuberhorbar
abschnittsubergreifende
Kontinuitaten in Rhythmik
und Motivik, die das
ganze Werk bestimmen und
es dabei wie feine
seismische Adern
durchziehen. (Johannes
Maria Staud,
2020)
World
premiere: Vienna, October
17, 2020 Commissioned by
KolnMusik GmbH as a part
of the Non Beethoven
project of the Kolner
Philharmonie for 2020,
Wiener Konzerthaus and
Martin Grubinger /
Percussive Planet.
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music...(+)
SKU: BR.EB-9387
Composed by Christian
Mason. Edition Breitkopf.
New music (post-2000);
Music post-1945. Set of
parts. Composed 2019.
Duration 20'. Breitkopf
and Haertel #EB 9387.
Published by Breitkopf
and Haertel (BR.EB-9387).
ISBN 9790004188576. 0
x 0
inches.
Commissione
d by the Kolner
Philharmonie (KolnMusik)
for the non bthvn projekt
2020 and the Cite de la
musique / Philharmonie de
Paris Dedicated to
Arditti Quartet Each
movement of this quartet
explores a single state,
its lights and its
shadows. Each movement,
you could say, is a
moment . And these
moments could last for
more or less time without
compromising their
essential nature. The
processes could be
extended or compressed,
repeated or reversed, but
the core ideas - if they
are ideas, but maybe they
are simply experiences? -
are what they are.
Despite this, the precise
sequence of movements
matters a great deal.
Heard together they do
articulate some kind of
linear narrative, maybe
even a metaphorical
journey (albeit a
circular one where the
arrival might, who knows,
prove to be a new
departure). One situation
gives way to another and
instrumental
relationships within the
quartet vary, but
ultimately the
imaginative impulse
behind the piece
preferences states of
unity. Whether or not
this unity is expressed
texturally - sometimes
literal unisons pervade,
but not always - there is
generally a sense that
even seemingly diverse
aspects relate to a
fundamental condition of
concord: a conscious
limitation in the pitch
structure to spectral
emanations of the root
notes E-flat and C. At
the opening this is
unambiguously audible in
the perpetual alternation
of these two notes in the
low cello register. Later
the two spectra are woven
into a micro-tonal
'double-spectral-mode'
(derived from the first
24 partials of the C and
E-flat fundamentals),
which defines the subtle
melodic inflection of the
second movement, and the
never-quite-chromatic
ascending scales of the
third. For now this feels
like a rich source of
melodic possibility, so
far only just glimpsed...
And why the insistence on
E-flat? Probably by way
of historical anecdote.
Apparently Karl Holz (a
member of the
Schuppanzigh Quartet)
said to Beethoven: We
performed your Quartet in
E-flat Op. 127 in his
[Weber's] honour; he
found the Adagio too
long; but I told him:
Beethoven also has a
longer feeling and a
longer imagination than
anyone standing or not
standing today. - Since
then, even Linke (another
member of the quartet)
can no longer stand him:
we cannot forgive him for
this. Listening again to
Op. 127, in light of
these comments, I was
struck by the opening
moment: the unfolding of
an E-flat 7th chord over
the course of a few bars.
Every time I hear it I
find myself wishing that
Beethoven would have
lingered longer there,
without resolution or
progression, just
enjoying that sonority.
And maybe - why not? -
tune the 7th naturally.
And what would it be to
stretch that moment into
an entire piece? What
would Weber think of
that?! In the end I was
not so extreme in my
self-limitation, and
other concerns took over,
but it was from these
thoughts that the
composition process
began... Lastly, about
the title: it comes from
a book called 'The Clock
of the Long Now' by
Stewart Brand, published
at the turn of the
millennium. It's about
the creation of a
thousand-year clock to
embody the aspiration to
thinking in terms of
longer time-spans than
are presently habitual.
If the music of Beethoven
embodied a 'longer'
feeling and imagination
than some of his
contemporaries were able
to appreciate, what is
our relation to time now?
Longer or shorter? Maybe
it depends who you ask...
It's probably more
extreme in both
directions: attention
spans might be
diminishing in the
digital world, but
conversely there is an
awareness of distant
pasts and potential
futures which would have
been inconceivable at the
time of Beethoven. In any
case, the interesting
thing is to ponder how
societal conditions,
assumptions and
expectations might -
whether consciously or
unconsciously - influence
the time of art, for
listeners and creators
alike. And what if time
is running out?
(Christian
Mason)
World
premiere: Paris, Cite de
la musique, January 14,
2020.
For
Orchestra. Composed
by Victoria Bond. Chamber
version: premiered by
Fontana Chamber Arts,
Kalamazoo, MI.
Contemporary. Full score.
With Standard notation.
Composed 2006. 79 pages.
Duration 14 minutes.
Theodore Presser Company
#416-41529. Published by
Theodore Presser Company
(PR.416415290).
Composed by Antonin Dvorak (1841-1904). Arranged by Kalinowska, Bella / Kalin...(+)
Composed by Antonin
Dvorak
(1841-1904). Arranged by
Kalinowska, Bella /
Kalinowsky, and Semjon.
Stapled. Performance
score ,
Part(s). Opus 75.
Baerenreiter Verlag
#BA10437.
Published by Baerenreiter
Verlag
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
Trios Vol. 2 Ensemble de cuivres [Partition + CD] Editions Marc Reift (Swiss import)
By John G. Mortimer. Brass Ensemble. For 2 trumpets, trombone and piano (keyboar...(+)
By John G. Mortimer.
Brass Ensemble. For 2
trumpets, trombone and
piano (keyboard). Swiss
import. Play Along.
Level: 2 . Sheet music
and accompaniment CD.
Published by Editions
Marc Reift. (EMR 2277)
In the Miller Mood Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
Arranged by Warren Barker. Arr. Warren Barker. For Concert Band. Concert Band. S...(+)
Arranged by Warren
Barker. Arr. Warren
Barker. For Concert Band.
Concert Band. Symphonic
Band. Level: 4 (Medium)
(grade 4). Conductor
Score and Parts. 296
pages. Published by
Alfred Publishing.
Trios Vol. 2 3 Saxophones (trio) [Partition + CD] - Facile Editions Marc Reift (Swiss import)
By John G. Mortimer. For 3 saxophones (aat) and piano (keyboard). Swiss import. ...(+)
By John G. Mortimer. For
3 saxophones (aat) and
piano (keyboard). Swiss
import. Play Along.
Level: 2 . Sheet music
and accompaniment CD.
Published by Editions
Marc Reift. (EMR 2271)
Former name Concerto
grosso No. 25 -
Urtext. Composed by
George Frideric Handel.
Edited by Wilhelm
Pfannkuch. Arranged by W.
(Cont.-Auss.) Pfannkuch.
Stapled.
Orchester-Bibliothek
(Orchestral Library).
Handel composed his
Water Music for none
other than King George I
who requested a concert
for guests invited to his
pleasure cruise on the
Thames.
Concerto
grosso; Baroque. Part. 28
pages. Duration 45'.
Breitkopf and Haertel #OB
4371-12. Published by
Breitkopf and Haertel
(BR.OB-4371-12).
ISBN
9790004306338. 10 x 12.5
inches.
According
to the Daily Courant, the
premiere took place as
follows: On Wednesday
Evening, at about 8, the
King took to Water at
Whitehall in an open
Barge, wherein were
Dutchess of Bolton, The
Dutchess of New Castle,
the Countess of
Godolphin, Madam
Kilmaseck, and the Earl
of Orkney. And went up
the River towards
Chelsea. Many other of
Barges with Person of
Quality attended, and so
the great Number of
Boats, that the whole
River in a manner was
couver'd; a City
Company's Barge was
employ'd for the Musick,
wherein were 50
Instruments of all sorts,
Who play'd all the way
from Lambeth (while the
Barges drove with the
Tide without Rowing, as
far as Chelsea) the
finest Symphonies,
compos'd express for this
Occasion, by Mr Hendel:
which his Majesty liked
so well, that he caus'd
it to be play'd over
three times in going and
returning. At Eleven his
Majesty came again into
Barge, and return'd the
same Way, the Musick
continuing to play till
he landed.
Handel
composed his Water Music
for none other than King
George I who requested a
concert for guests
invited to his pleasure
cruise on the Thames.
(Sg-S-solo,2Sg-Mez-solo,S
g-A-solo,4Sg-T-solo,Sg-Ba
r-solo,Sg-BBar-solo,Sg-B-
solo,Orch,Hinter der
Buhne:
2Hn,2Trp,Timp.,MCh)
SKU: BA.BA09579-01
Opera in three
Acts. Composed by
Leos Janacek. Edited by
Annette Thein,
Jonáš Hájek, and
Tomáš Hanus. This
edition: complete
edition, urtext edition.
Linen. Kritische
Gesamtausgabe der Werke
von Leos Janacek A/9.
Brno Version. Complete
edition, Score.
Baerenreiter Verlag
#BA09579_01. Published by
Baerenreiter Verlag
(BA.BA09579-01).
ISBN
9790260108622. 34.2 x 28
cm inches. Text Language:
Czech, English, German.
Preface: Å tedron,
Miloš. Text: Leos
(nach Karel Capek)
Janacek.
The new
edition of Janacek's
penultimate operaThe
Makropulos Affairis a
reconstruction of the
work's original version,
which shows only a few
deviations from the final
version. The opera was
premiered on 18 December
1926 at the National
Theatre Brno with the
composer in attendance.
The second authorized
copy of the score,
prepared by Jaroslav
Kulhanek, was used for
the performance material.
This copy also served as
the primary source for
the new critical edition
of the full
score.
This
edition features clearly
marked performance
instructions by one of
the editors, the
experienced Janacek
conductor Tomas Hanus. As
they have been
graphically offset, they
can easily be
distinguished from the
original version.These
practical suggestions
facilitate the production
of the opera and allow
the conductor to study
the work more easily. In
this way, the performance
material offers a welcome
alternative to previous
editions of the
opera.
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
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding