SKU: BR.BV-285

ISBN 9783765102851. 7.5 x 9.5 inches. German.

Blooming JoyFlowers played an important role in the lives of people of the 19th century - picking them, binding them to wreaths, giving them as messages of friendship and love, using them to ornament a room or clothing, belonged to the forms of general sociability. It is within this context that Clara Schumann's flower diaries can be viewed: The first of the series was created in 1854, the year of Robert Schumann's admission to the Endenich mental institution, and was intended to share her inner and outer life with the initially personally unavailable invalid. In 1857, the meanwhile nearly 40-year-old Clara Schumann began her last flower diary, barely a year and a half after her husband's death. It reflects the travel stops of the pianist who was by now increasingly concertizing throughout central Europe and England, as well as her relationships with close friends, including especially the young Johannes Brahms who had presented her with the little volume expressly for her collections and annotations. The facsimiled diary pages of the exemplar preserved in the Staatsbibliothek Berlin are supplemented by biographical and botanical comments.

SKU: BT.DHP-1196176-015

English-German-French- Dutch.

El Matador is composed in the style of a Spanish paso doble. In this dance, the man plays the role of a matador, and the woman is, literally, a red rag to a bull! This work is written for a four-part variable instrumentation. The crucial aspect for the performance is that the parts are equally shared among the available instruments. In the percussion part, the castanets (wood block ad lib.) play an important role.

El Matador is geschreven in de stijl van een Spaanse paso doble. In deze dans speelt de man de rol van de matador (stierenvechter), en is de dame als het ware de rode lap die de stier opjaagt. Het werk is ge nstrumenteerd voor vierstemmig variabele bezetting. Voor de uitvoering is het belangrijk dat de stemmen gelijkmatig verdeeld worden over de beschikbare instrumenten. In het slagwerk is een belangrijke rol weggelegd voor de castagnetten (wood block ad lib.).

El Matador wurde im Stil eines spanischen Paso doble komponiert. In diesem Tanz spielt der Mann die Rolle eines Matadors (Stierkämpfer) und die Dame ist sozusagen das rote Tuch, das den Stier aufscheucht. Das Werk ist für eine vierstimmig variable Besetzung instrumentiert. Für die Aufführung gilt es, die Stimmen gleichmäßig über die zur Verfügung stehenden Instrumente zu verteilen. Bei den Schlaginstrumenten spielen die Kastagnetten (Holzblock ad lib.) eine wichtige Rolle.

El Matador contient les éléments rythmiques et mélodiques caractéristiques du paso doble. Pour adopter le style typiquement espagnol de cette danse, l’homme joue le rôle du matador, alors que la femme incarne celui de la muleta, ce morceau de tissu rouge que l’on agite devant le taureau. Écrit pour ensemble vent, cet ouvrage propose une instrumentation variable quatre voix, lesquelles se partagent avec équité l’ensemble des lignes mélodiques. Dans la partie de percussion, les castagnettes (wood-block ad lib.) jouent un rôle prépondérant.

SKU: BT.DHP-1196176-215

English-German-French- Dutch.

El Matador is composed in the style of a Spanish paso doble. In this dance, the man plays the role of a matador, and the woman is, literally, a red rag to a bull! This work is written for a four-part variable instrumentation. The crucial aspect for the performance is that the parts are equally shared among the available instruments. In the percussion part, the castanets (wood block ad lib.) play an important role.

El Matador is geschreven in de stijl van een Spaanse paso doble. In deze dans speelt de man de rol van de matador (stierenvechter), en is de dame als het ware de rode lap die de stier opjaagt. Het werk is ge nstrumenteerd voor vierstemmig variabele bezetting. Voor de uitvoering is het belangrijk dat de stemmen gelijkmatig verdeeld worden over de beschikbare instrumenten. In het slagwerk is een belangrijke rol weggelegd voor de castagnetten (wood block ad lib.).

El Matador wurde im Stil eines spanischen Paso doble komponiert. In diesem Tanz spielt der Mann die Rolle eines Matadors (Stierkämpfer) und die Dame ist sozusagen das rote Tuch, das den Stier aufscheucht. Das Werk ist für eine vierstimmig variable Besetzung instrumentiert. Für die Aufführung gilt es, die Stimmen gleichmäßig über die zur Verfügung stehenden Instrumente zu verteilen. Bei den Schlaginstrumenten spielen die Kastagnetten (Holzblock ad lib.) eine wichtige Rolle.

El Matador contient les éléments rythmiques et mélodiques caractéristiques du paso doble. Pour adopter le style typiquement espagnol de cette danse, l’homme joue le rôle du matador, alors que la femme incarne celui de la muleta, ce morceau de tissu rouge que l’on agite devant le taureau. Écrit pour ensemble vent, cet ouvrage propose une instrumentation variable quatre voix, lesquelles se partagent avec équité l’ensemble des lignes mélodiques. Dans la partie de percussion, les castagnettes (wood-block ad lib.) jouent un rôle prépondérant.

SKU: HL.44010958

UPC: 884088613167. 9x12 inches. English-German-French-Dut ch.

As a native Londoner, composer Philip Sparke has always been attracted to the great cities of the world, fascinated by their varied moods and human diversity. London, Chicago, Tokyo, Paris, Rome and New York all have their own characters but also share much in common. This overture is a salute to the energy and grandeur of such cities. A fantastic new concert work for moderately advanced bands.

Als echte Londenaar is Philip Sparke altijd al gefascineerd door de metropolen van de wereld en de verschillende sferen en diversiteit aan mensen die wereldsteden eigen zijn. Deze ouverture is een hommage aan de energie en prachtvan zulke grote steden. Hun talrijke contrasterende eigenschappen weerspiegelen zich in wisselende stemmingen. Het zijn deze stemmingen die de bedrijvigheid, de majestueuze architectuur en de prettige maar ook minder prettige aspectenvan een leven in de stad belichten.

Als Londoner war Philip Sparke schon immer fasziniert von den Metropolen dieser Welt, den diversen Stimmungen und der Vielfaltigkeit menschlichen Lebens. Diese Ouvertüre ist ein Salut an die Energie und die Pracht solcher Grossstadte. Ihre kontrastierenden Eigenschaften spiegeln sich in wechselnden Stimmungen wider, welche die Betriebsamkeit der Grossstadt, die majestatische Architektur sowie die eleganten und weniger vornehmen Aspekte des stadtischen Lebens beleuchten.

Cette ouverture rend hommage a la grandeur et a l'energie des plus grandes villes du monde. Philip Sparke y depeint les contrastes de caractere a travers des atmospheres sans cesse changeantes. Les couleurs sonores et les chiff rages de mesure multicontrastes decrivent les avantages et les inconvenients de la vie dans une metropole.

Questa ouverture rende omaggio alla grandezza e all'energia delle piu grandi ed importanti citta del mondo. Philip Sparke dipinge le diversita delle citta e dei loro abitanti attraverso atmosfere che cambiano per rappresentare e descrivere al meglio le mille diversita che caratterizzano ogni metropoli.

SKU: LO.15-3769H

ISBN 9780787770181.

We are one in community, we are one in humanity. Each of us living to spread love, we are one in humanity. Rhythmic and energetic music by Bryan Sharpe highlights this uplifting message about the bonds of love we share with everyone on this planet. A great choice for festivals, the idiomatically conceived parts for optional percussion provide effective support for voices and piano.

SKU: GI.G-10730

SKU: CF.SPS93

ISBN 9781491159774. UPC: 680160918362.

Adver sity, in any form at any point of our lives, can be absolutely debilitating mentally, physically, emotionally and spiritually. In the midst of hard times, it is difficult to imagine what our lives will look like on the other side of the adversity we are facing. Yet so many of us carry on, move forward, and rise above determined to never be defined by our circumstances. For some their personal faith, support from family, or relationship to friends provides the necessary fuel for the resilience they need to rise above adversity. It is amazing when a group of people are able to come together to overcome a common obstacle. With this in mind, I put to music that spirit of rising above for the Liberty High School Band and their director Michael Summers. Northeast Ohio has seen its share of prosperity and significant times of hardship along many different fronts. I still see resilient leaders, community members, and educators like Mike who continue to fight for what is best and what is right. The debut of this work, like so many other things, was interrupted in the spring of 2020. Now on the precipice of a new beginning for many band programs across the country, all of us in instrumental music education must summon resilience to ensure our groups recover, grow and flourish. The rising major second represents us all taking the first step forward in good and difficult times. The adversity (tension) arrives in various ways harmonically throughout the work. Tension can make us lose sense of where we are on our journey and rob us of our ability to imagine getting through our current situation. But I am reminded that not all tension is bad. Given enough time and enough resolution, we can often make sense of the adversity. We can recognize that the adversity taught us something about ourselves we didn't know, or perhaps challenged us to grow in a way we didn't think possible. Either way, it does not happen unless we possess resilience. I thank you in advance for your support of this music and wish you and your group the very best moving forward with Resilience.
Adversity, in any form at any point of our lives, can be absolutely debilitating mentally, physically, emotionally and spiritually. In the midst of hard times, it is difficult to imagine what our lives will look like on the other side of the adversity we are facing. Yet so many of us carry on, move forward, and rise above determined to never be defined by our circumstances.For some their personal faith, support from family, or relationship to friends provides the necessary fuel for the resilience they need to rise above adversity. It is amazing when a group of people are able to come together to overcome a common obstacle. With this in mind, I put to music that spirit of rising above for the Liberty High School Band and their director Michael Summers. Northeast Ohio has seen its share of prosperity and significant times of hardship along many different fronts. I still see resilient leaders, community members, and educators like Mike who continue to fight for what is best and what is right. The debut of this work, like so many other things, was interrupted in the spring of 2020. Now on the precipice of a new beginning for many band programs across the country, all of us in instrumental music education must summon resilience to ensure our groups recover, grow and flourish. The rising major second represents us all taking the first step forward in good and difficult times. The adversity (tension) arrives in various ways harmonically throughout the work. Tension can make us lose sense of where we are on our journey and rob us of our ability to imagine getting through our current situation. But I am reminded that not all tension is bad. Given enough time and enough resolution, we can often make sense of the adversity. We can recognize that the adversity taught us something about ourselves we didn’t know, or perhaps challenged us to grow in a way we didn’t think possible. Either way, it does not happen unless we possess resilience.I thank you in advance for your support of this music and wish you and your group the very best moving forward with Resilience.

SKU: PR.416413660

ISBN 9781598063578. UPC: 680160601899. 9x12 inches.

Trained as a violinist in his native Tehran, composer Behzad Ranjbaran eagerly drew inspiration from the traditional Persian kamancheh and its delicate, lyrical sound when creating his profoundly luscious and brilliant Concerto for Violin and Orchestra. This work was completed in 1994 and premiered in England by Joshua Bell, who also gave the first American and Canadian performances. The Concerto for Violin and Orchestra is the recipient of the Rudolf Nissim Award from ASCAP, and it was supported in part by a grant from The National Endowment for the Arts. The solo part with a piano reduction as well as a large score are available on custom print. For advanced players. Duration: 31'.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.

SKU: GI.G-10796