SKU: BT.DHP-1186067-140

English-German-French- Dutch.

Marchalad e is a straightforward, refreshing new march by Peter Riedemann. Following a compelling introduction, the descant presents a light, playful theme, which is repeated with a legato countermelody in the tenor register. The second reprise is characterized by the alternation of descant and bass. The trio part is initially played cantabile, followed by a bold marcato repetition.

Na een overtuigende inleiding weerklinkt in de discant een luchtig speels thema met in de herhaling een legato tegenmelodie in het tenorregister. De tweede reprise wordt gekenmerkt door de afwisseling van discant en basregister. Het triodeel wordt aanvankelijk gevormd door een cantabile speelwijze, met aansluitend een herhaling in een stevige marcato uitvoering. Marchalade: een eenvoudige frisse nieuwe mars van Peter Riedemann.

Marchalade ist ein einfacher und erfrischender neuer Marsch von Peter Riedemann. Nach der fesselnden Einleitung präsentieren die Sopranstimmen ein zartes, verspieltes Thema, das von den Tenorstimmen mit einer Gegenmelodie im Legato wiederholt wird. Die zweite Reprise zeichnet sich durch den Wechsel von Sopran- und Bassstimmen aus. Der Trio-Teil wird anfangs cantabile gespielt, dann folgt eine Wiederholung im kräftigen Marcato.

Marchalade est une nouvelle marche de Peter Riedemann qui est simple mais originale. Suite une introduction envo tante, l’instrument aigu présente un thème léger et enjoué qui est répété avec une contremélodie en legato dans le registre du ténor. La deuxième reprise se caractérise par l’alternance entre l’instrument aigu et la basse. La partie en trio est d’abord jouée cantabile, ensuite répétée par un marcato vif.

SKU: PR.11440719S

UPC: 680160011087. 8.5 x 11 inches.

Sambuca, which most people know today as a licorice-flavored liqueur, was the name the Greeks gave to a kind of sharp, shrill-sounding harp, of Eastern, possibly Jewish origin. The Greeks then gave this same name to a wooden flute made from the elder bush, and in the middle ages it was also associated with the viol, at least to the extent that the Hurdy-gurdy, an instrument shaped like a viol and played by means of a rotating wheel, was sometimes called a Sambuca rotata. Thus, the word Sambuca is tied up with the ancestors - in each case, ancestors of ow birth, as it were - of the modern harp, flute, and viola. Somehow, the present-day association with alcohol seems very meet, in that a certain objectionable quality seems to have gone with the name - in 1545 one George Ascham wrote, This I am sure... all maner of pypes, barbitons, sambukes... be condemned of Aristotle. The word Sambucistria - for a female Sambuca player - was used by Plutarch and others to evoke a feeling of foreign-inspired decadence [Grove's Dictionary of Musical Instruments, 1984]. Currier's work is truly a Sambuca sonata. Written for the three Sambuca instruments, Currier has first of all seemingly endeavoured to make the harp part particularly Sambuca-like (i.e., sharp and shrill) with its many nail and xylophonic effects, but more importantly, has used musical material that corresponds to the low-brow, somewhat Dionysian, indeed, today even Bacchanalian implication of the name - thus, rock music seems to inspire a great deal Currier's work [the Samba, an appropriately Bacchanalian Brazilian Carnival dance, in duple meter with syncopations, while apparently having no etymological connection to Sambuca, might seem to be musically involved, too]. The Sambuca which lies behind this rather drunken piece is probably the only musical instrument which became a model for an instrument of war; one Craxton wrote in 1489 that Sambuce is an engyn whiche is made in manere of a harpe able to perce a walle. But whether talking of the modern liqueur or the ancient instrument condemned of Aristotle and mentioned four times in the Book of Daniel, it is a shame that Debussy - inspired by the Dionysian side of classical culture (as in Prelude a l'apres-midi d'un faune) - seems to have remained ignorant Sambuca, a word which to some extent must lie behind all works for this wonderful instrumentation which he invented, and which I might seem to have striven unconsciously, equally ignorant, to make the sole basis of Currier's work - until, having completed this piece, written for harpist Marie-Pierre Langlamet, and rummaging around for a title, I chanced upon it in an old dictionary.

SKU: CY.CC2730

Lament for Trombone and Organ by composer Jeremy Niles Kempton is a serious and lyrical work of about 6 minutes in length for advanced performers.

The original version is for trombone and string orchestra. It was composed and performed within a 2 week period at a memorial concert given for Helen Manheim, a violist in Mr. Kempton's Island Chamber Symphony on Long Island, NY. Ms Manheim died rather suddenly and her passing left the composer with a deep feeling of regret at having taken her and so many other ICS musicians for granted.

The piece consists of 3 lengthy phrases. The first epitomizes the grief at her passing. The 2nd presents her life and consists of 3 phrases, all starting the same but each striving higher. The final section is her legacy, what she leaves behind. Orchestral score and parts are available form Cherry Classics.

The live performance features Mr. Kempton on the trombone.

SKU: PO.UME09

ISBN 9781877564918.

This enigmatic and often playful work for harp incorporates scalar material reminiscent of the Blues, with unpredictable shocks of pedal glissandi peppering the Introduction with a chromatic motif. The Scherzo that follows presents a more animated working out of the Introduction's materials, with polyrhythmic passages consisting of triplets grouped in fives, in addition to other rhythmic manifestations of the number five. Together, the two sections make for an entertaining and expressive addition to a harpist's repertoire.

SKU: BA.BA05864

SKU: GI.G-017290

UPC: 641151172903. English.

An excellent introduction to the basics of reading and sight-singing music, designed for adult learners with minimal or no music-reading ability who want to acquire or improve their skills for parish music ministry. Kerr Breedlove‚ common-sense approach, honed by use in the classroom, is presented in eight units. Lessons are of manageable size, with plenty of exercises and examples to assist new music readers in using their skills. The time choir directors spend teaching songs by rote can become a thing of the past and choirs can learn more music in a shorter amount of time when they can sight-sing with the help of this user-friendly workbook. And, quantity pricing makes it possible for each singer to have their own copy for note-taking and review. There‚ even a printed keyboard‚ in the appendix that can be used by new sight-singers to review concepts independently, outside of rehearsal, with greater confidence.

SKU: BR.EB-9253

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

ISBN 9790004185537. 9 x 12 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

SKU: CA.1606300

ISBN 9790007095536. Key: A minor. Language: all languages.

Johann Christoph Pepusch is mostly remembered as the creator of The Beggar's Opera, a socio-critical work that enjoyed a sensational success when first performed in London in 1728 and that was the model on which, two hundred years later, the no-less successful Dreigroschenoper by Kurt Weill and Bert Brecht was based. His rich oeuvre did by no means limit itself to music for the stage but included works for almost all the vocal and instrumental genres. With the present trio sonata, the distinguished contrapuntalist demonstrates his art in the realm of chamber music. In accordance with the generous instrumentation practice of the time, the violin may be replaced by an oboe and the viola da gamba by a viola.

SKU: GI.G-017147

St. Francis de Sales is one of the wisest saints when it comes to understanding the human heart. Salesian spirituality makes that timeless wisdom practical and accessible to everyone. In Be Who You Are, Brother Mickey has illuminated some of his favorite quotes of St. Francis about patience and living in the present moment. And he has also invited some of his fellow Oblates of St. Francis de Sales to share their insights and experiences as well.

SKU: KN.19570

UPC: 822795195705.

Prese nting a variety of beloved Christmas songs for an array of programming options, the settings in this collection merge the traditional eloquence of the season with fresh harmonic concepts. This makes the music as interesting to performers as it is to listeners. Parts may be doubled if a larger brass choir is desired.

SKU: BT.GOB-000720-010

In deze compositie maken kinderen, die in enkele delen meezingen, -klappen en -spelen, op een spannende en eigentijdse manier kennis met het harmonie-orkest. Wordt Wieger op tijd wakker om het instrument van zijn dromen te bespelen?De compositie bestaat uit de volgende delen: 1. Ouverture 2. Recorders/Clarinets are Cool! 3. Ik kan niet kiezen 4. Romance 5. Boris 6. Wakker De teksten, liedjes en een oefen-cd worden meegeleverd. De basisschoolkinderenkunnen de liedjes en bewegingen met hun leerkracht instuderen. Tip: Laat een boeiende verteller/presentator het verhaal van Wieger vertellen!

SKU: GI.G-006433

Breath of Christ presents more than 50 hymn texts written since Alan's previous collection, Song of the Spirit. Some of these have appeared in anthem settings or hymnals, others are completely new. Many are set to music created specifically for this collection. The poetic texts range from the intellectually stimulating to the immediately practical for use throughout the liturgical year. Some, like “Advent Wreath Hymn” or “Interfaith Thanksgiving Hymn,” have specific uses. Others, like “Song of Joseph” and “Hymn for Healers” will be appropriate at a variety of times throughout the year. .