Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Strings String Quartet (Study Score) SKU: HL.51487183 Study Score....(+)
Strings String Quartet
(Study Score)
SKU:
HL.51487183
Study
Score. Composed by
Evgeny Kissin. Study
Score. Paperbound. Henle
Study Scores. Classical.
Softcover. G. Henle
#HN7183. Published by G.
Henle (HL.51487183).
ISBN 9790201871837.
UPC: 888680986568.
6.5x9.5x0.086
inches.
Redolent of
the work of Dmitri
Shostakovich in its
musical language, Evgeny
Kissin's String Quartet
op. 3 comprises four
strongly contrasting
movements: on the heels
of the stately
“Adagio
liberamente†comes
an extremely lively
“Allegro
inquieto†that
wanders between dynamic
extremes and bristles
with glissandi. The third
movement, marked
“Largo
drammatico,†is
sustained by an
insistent, heavily
rhythmic dotted motive,
while the final movement
shifts from the
introduction, marked
“Pensierosamente,
ma mantenendo
strettamente il ritmo
puntato,†into a
brilliant finale,
“Molto allegro e
sarcastico,†that
is suffused with elements
of fugato and,like all
movements, informed by
dodecaphonic harmonies.
This demanding
fifteen-minute work was
composed in 2015-16 and
recorded for the first
time on Nimbus Records by
the Kopelman Quartet.
Score and Parts. Composed by Evgeny Kissin. Sheet Music. Paperbound. Henle M...(+)
Score and Parts. Composed
by
Evgeny Kissin. Sheet
Music.
Paperbound. Henle Music
Folios. Classical. Set of
Parts. 28 pages. G. Henle
#HN1183. Published by G.
Henle
Trumpet and piano - Intermediate SKU: FT.FM418 Composed by Paul Kelly. Tr...(+)
Trumpet and piano -
Intermediate
SKU:
FT.FM418
Composed by
Paul Kelly. Trumpet and
Piano. Score and part.
Forton Music #FM418.
Published by Forton Music
(FT.FM418).
ISBN
9790570483174.
A
suite for trumpet and
piano in 3/4 time,
recommended for the
intermediate player.
Minuet and Variations for
Trumpet and Piano This
minuet starts off with
restrained elegance and
then veers off into
something with attitude,
no longer quite baroque.
There are few places to
rest in this piece so
good breath control is
very important. Strive
for precise articulation
especially in the
staccato passages, and a
full, rich tone in the
Tempo Primo section at
Bar 30. Sarabande This
piece was inspired by
various classical works
but it still has
something of the
Twentieth Century about
it. You'll notice the B
section suggests a
minuet. If you can find
moments to use a true,
fully supported
pianissimo it will help
make this melody truly
haunting. August Serenade
This piece has a spritely
main theme that
introduces two quieter,
more introspective
melodies. The first theme
again echoes a minuet
while the second is more
of a slow waltz. The main
theme should be precise
and fiery, the second
played with a sweet
elegance and the waltz
filled with warmth and
autumnal colours.
Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340).
ISBN
9788480207591.
Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor.
SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, ...(+)
SATB choir, assembly,
organ accompaniment,
trumpet 1 in B-flat,
trumpet 1 in C, trumpet 2
in B-flat, trumpet 2 in
C, horn in f, trombone 1,
trombone 2, tuba, timpani
- Early intermediate
SKU: GI.G-8993
Concertato on
MELITA. Composed by
John Bacchus Dykes.
Arranged by Robert J.
Powell. Ordinary Time 12
B. Choral. Tune Name:
Melita. Sacred. Octavo.
12 pages. GIA
Publications #8993.
Published by GIA
Publications (GI.G-8993).
UPC: 785147899303.
English. Text Source:
William Whiting,
1825–1878, alt.
Text by William
Whiting.
An
exciting fanfare by brass
and organ sets up the
opening unison stanza of
this moving arrangement.
The a cappella third
stanza is independent and
quieter. Perhaps not
surprisingly, the
concluding stanza is
tutti, complete with a
soaring soprano descant.
Note that the brass
quintet is necessary for
a performance of this
concertato (horn in F may
substitute for trombone
I). The organ part is
included in both the full
score and octavo
editions. Horn in F can
be substituted for
Trombone I.
Conquest Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Brolga Music Publishing Company
By Tim Fisher. For concert band. Brolga Music Concert Band Series. Grade 3. Scor...(+)
By Tim Fisher. For
concert band. Brolga
Music Concert Band
Series. Grade 3. Score
and set of parts.
Duration 3:55. Published
by Brolga Music
Publishing Company
Dream Angus [Conducteur et Parties séparées] - Intermédiaire Forton Music
Picc. 3 Fl. 2 Afl. Bfl - Intermediate SKU: FT.FM525 Composed by Allan Her...(+)
Picc. 3 Fl. 2 Afl. Bfl -
Intermediate
SKU:
FT.FM525
Composed by
Allan Herbie Jones. Flute
Ensemble. Score and
Parts. Forton Music
#FM525. Published by
Forton Music (FT.FM525).
ISBN
9790570484249.
Drea
m Angus is an old
Scottish folk song, the
origins of which cannot
be traced. Numerous
groups have portrayed the
song as a lullaby, most
notably Annie Lennox.
Angus is the purveyor of
dreams and the song is
sung to children (bairns)
at night time to quieten
them before sleep. There
is also a hymn with the
same tune but very
different words. This
arrangement should be
played with continued
legato throughout and
with as much feeling as
the ensemble can give.
Care should be taken with
the comma breaks - not
all need the slight
rallentando and a tempo,
some are merely breath
marks. When playing,
always remember this is a
lullaby.
Dream Angus [Conducteur et Parties séparées] - Intermédiaire Forton Music
Eb. 3Bbcl. Acl. Bcl. Cbcl - Intermediate SKU: FT.FM526 Composed by Allan ...(+)
Eb. 3Bbcl. Acl. Bcl. Cbcl
- Intermediate
SKU:
FT.FM526
Composed by
Allan Herbie Jones.
Clarinet Ensemble. Score
and Parts. Forton Music
#FM526. Published by
Forton Music (FT.FM526).
ISBN
9790570484256.
Drea
m Angus is an old
Scottish folk song, the
origins of which cannot
be traced. Numerous
groups have portrayed the
song as a lullaby, most
notably Annie Lennox.
Angus is the purveyor of
dreams and the song is
sung to children (bairns)
at night time to quieten
them before sleep. There
is also a hymn with the
same tune but very
different words. This
arrangement should be
played with continued
legato throughout and
with as much feeling as
the ensemble can give.
Care should be taken with
the comma breaks - not
all need the slight
rallentando and a tempo,
some are merely breath
marks. When playing,
always remember this is a
lullaby.
SATB choir & organ (SATB) - easy SKU: OU.9780193870116 Composed by Glenn ...(+)
SATB choir & organ (SATB)
- easy
SKU:
OU.9780193870116
Composed by Glenn L.
Rudolph. Sacred choral -
mixed voices. Sacred,
Choral Leaflet. Vocal
score. 12 pages. Duration
4.5'. Oxford University
Press #9780193870116.
Published by Oxford
University Press
(OU.9780193870116).
ISBN
9780193870116.
For
SATB and organ This
upbeat anthem is
characterized by periodic
harmonic shifts and
gentle dance-like motion
created by the 6/4 time
signature. The music
begins quietly and
gradually builds to a
triumphant ending.
Composed by Cecilia
McDowall. Sacred choral -
mixed voices. Vocal
score. 44 pages. Duration
12'. Oxford University
Press #9780193400948.
Published by Oxford
University Press
(OU.9780193400948).
ISBN 9780193400948. 12
x 8 inches.
for
soprano solo, SATB choir,
organ (or keyboard), and
trumpet (optional)
This joyful and richly
expressive choral cantata
is a setting of what is
often thought of as a
Thanksgiving psalm or a
psalm in praise of
Harvest time. From its
atmospheric opening
through to its upbeat
ending, the work
contrasts driving rhythms
with quietly reflective
passages for soprano
solo. It can be performed
with or without trumpet.
Suitable for any
celebratory occasion,
Psalm 65 is a
vibrant concert work and
a great joy to
sing.
Alfred is pleased to present the Johnny Mandel Songbook. Johnny Mandel has writt...(+)
Alfred is pleased to
present the Johnny Mandel
Songbook. Johnny Mandel
has written music for
numerous films and
television shows,
including "The Shadow of
Your Smile" and "Suicide
Is Painless (the Theme
Song from M*A*S*H)." He
has also written
arrangements for
well-known performers
such as Frank Sinatra and
Shirley Horn.
The incredible Studio A Big Band salutes the big name bands with this solid, swi...(+)
The incredible Studio A
Big Band salutes the big
name bands with this
solid, swinging CD that
captures all of the great
sounds that made the big
band era so special.
Great performances +
great charts + great
recordings = great CD
Choral (Orchestra Accompaniment) SKU: HL.35029012 Composed by Joseph M. M...(+)
Choral (Orchestra
Accompaniment)
SKU:
HL.35029012
Composed
by Joseph M. Martin.
Choral. Concert, Easter,
Memorial, Patriotic.
CD-ROM, Score and Parts.
Published by Shawnee
Press (HL.35029012).
UPC: 884088906573. 5x5
inches.
Uses: Funeral, Memorial,
Patriotic,
Concert
Scriptu
re: Matthew 5:4; I
Thessalonians 4:14-17;
Romans 14:7-9
The
celebrated text,
“Do not stand at my
grave and weep” is
emotionally arranged into
a concert work of grief
and tears, hope and joy.
A lonely and longing
violin melds with a rich
and moving piano
accompaniment. The piece
begins quietly, builds
with intensity, and sings
into silence with the
text, “I am not
there. I did not
die.” Presented for
the first time with full
orchestra. Available
separately: SATB,
PianoTrax CD, StudioTrax
CD (Accomp., SplitTrax,
Perf.), Orchestration
(Score & Parts for Flt
1&2, Oboe, Clarinet 1&2,
Bassoon, Horn 1&2, Tpt 1,
Tpt 2&3, Tbone 1&2, Bass
Tbone/Tuba, Timp, Perc
1&2, Harp, Piano, Vln
1&2, Viola, Cello, Double
Bass).
4 male voices (CtenTTBar) (TTBB Choir) SKU: HL.49003214 For four male ...(+)
4 male voices (CtenTTBar)
(TTBB Choir)
SKU:
HL.49003214
For
four male voices.
Composed by Gavin Bryars.
Sheet music. Edition
Schott. Classical. Score.
Composed 1988. 16 pages.
Duration 15'. Schott
Music #ED12461. Published
by Schott Music
(HL.49003214).
ISBN
9790220117282. UPC:
888680784249.
8.25x11.75x0.052 inches.
Latin.
Glorious
Hill may be performed by
a male choir.Text by Pico
della Mirandola
(1463-1497) from De
Hominis
Dignitate.Glorious Hill
was commissioned by the
Hilliard Ensemble and
first performed by them
at its summer Festival of
Voices in Lewes, Sussex,
in August 1988. It was
the first piece I wrote
for the ensemble and I
focused on the singers'
unique ability to move
with ease from early
music to tonal music of
the present day. There
were techniques which I
asked for which I hardly
needed to notate - the
staggered breathing of
the two tenors to supply
a continuous unbroken
held note for example -
and the piece moves
between passages for solo
voices and sections of
highly chromatic
homophony, almost as if
the music were switching
between the 12th century
of Perotin and the 16th
century of Gesualdo. Each
of the four voices is
given its own solo
passage, sometimes
accompanied, sometimes
quietly supported by the
other voices.The title,
Glorious Hill comes from
the name of the
small-town Mississippi
setting of Tennessee
Williams' Summer and
Smoke. I wrote the music
for the 1987 production
of this play at the
Leicester Haymarket
Theatre, the first time I
had written any
incidental music for the
stage. Williams makes
very specific demands in
terms of music and there
is one particularly
powerful scene, the
penultimate one,
throughout which music
and atmospheric sound
effects are continuous.
The principle character
Alma argues passionately
about the vital
importance of human
choice with the man to
whom she has, too late,
admitted her love. I
watched this section
every night throughout
the 4 week run of the
play watching the
different ways in which
the actress, Frances
Barber, played the scene.
There is a powerful
emotional and
philosophical connection
between the imagery of
this scene and a passage
from the Renaissance
philosopher Pico della
Mirandola's Oration on
the Dignity of Man which
forms the text of
Glorious Hill. This
passage has been
described as one of the
few passages in
Renaissance philosophy to
treat human freedom in a
modern way. The text,
which is sung in Latin,
is addressed by God to
Adam before the fall from
grace.Gavin Bryars.
A Little Stream Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Xiao He Tang Shui). Arranged by Albert Wang. Orchestra. Part(s); Score; String ...(+)
(Xiao He Tang Shui).
Arranged by Albert Wang.
Orchestra. Part(s);
Score; String Orchestra.
Highland String
Orchestra. Folk; World.
Grade 4. 124 pages.
Published by Alfred Music
Publishing
Choir; rhythm SKU: HP.C5387R Composed by Billy James Foote. Arranged by L...(+)
Choir; rhythm
SKU:
HP.C5387R
Composed by
Billy James Foote.
Arranged by Larry
Shackley. Contemporary,
Lent, General Worship,
Commitment, Love,
Sacrifice, Sacred. Rhythm
Parts. Hope Publishing
Company #C5387R.
Published by Hope
Publishing Company
(HP.C5387R).
UPC:
763628253875. By Billy
James Foote. Matthew
18:21-35.
Contempor
ary worship song by
Billy James Foote
Billy James Foote's
popular contemporary
worship song revisits the
familiar territory of
Charles Wesley's beloved
text And Can It Be? The
verse quietly meditates
on the contradictions of
Christ's sacrifice: I'm
forgiven because You were
forsaken/I'm accepted,
You were condemned. The
chorus provides the
joyful response: Amazing
love! This sensitive yet
powerful setting from
arranger, Larry Shackley,
is suitable for Holy Week
or any time of the
year.
Ensemble. Composed
by Rune Glerup. Full
Score. Classical.
Softcover. Duration 1200
seconds. Edition Wilhelm
Hansen #WH33467.
Published by Edition
Wilhelm Hansen
(HL.50606773).
ISBN
9798350108750. UPC:
196288173892.
â€
œMy violin concerto
would never have been
written if I had not met
Isabelle Faust. At a time
when I had not written a
single note for several
months, doubting if I
would ever write anything
again, her interest and
energy was the cause of
new inspiration. Just
asimportant was her
special way of playing -
with intellect, heart and
a rare, delicate
sensibility. Her
personality and
musicianship struck a
chord in me, in my music,
which gave my thoughts a
new direction. The violin
concerto marks a change
in my music towards a
simpler and lighter
expression. An expression
that also contains
detached glimpses from my
childhood's endless
summers by the North Sea.
Birds, high and slow on a
blue sky, and the evening
quietly descending. The
special light, the
distant sounds. But also
the confusion,
repetitions and dead ends
of the world. An
expression that, more
than in my previous
music, is 'About Light
and Lightness.' - Rune
Glerup, 2021â€
Instrumentation: vn;
2(pic).2.3(Ebcl).2/4.3.2(
btbn).0/pf/str.
You Are My King Chorale SATB SATB, Piano [Octavo] Hope Publishing Company
By Foote, Billy James. Arranged by Larry Shackley. (SATB). Christ The King, Com...(+)
By Foote, Billy James.
Arranged by Larry
Shackley. (SATB). Christ
The King, Commitment,
Love, Sacrifice,
Contemporary and Sacred.
Print Music Single
(SATB). 8 pages.
Published by Hope
Publishing Company.
Tuba and piano SKU: P2.90007 Composed by Jonathan McNair. Chamber music, ...(+)
Tuba and piano
SKU:
P2.90007
Composed by
Jonathan McNair. Chamber
music, 20th century.
Published by Potenza
Music (P2.90007).
...and sundry
movements of the heart...
for Tuba and Piano. The
four movements of this
work explore very diverse
(sundry) musical
territories: abstract and
serious, songlike,
humorous, pensive and
transcendent. Many of the
musical ideas were
generated in spontaneous
improvising sessions or
by singing--hence,
movements of the heart.
Prelude is anchored in
its structure by a bold,
serious gesture that is
heard at the beginning,
middle, and end of the
movement, developed
differently each time.
The two intervening
episodes are contrasting
in tempo, and materials:
the first is more
abstract, the second a
strong, focused melody.
Song, the second
movement, is a warmly
lyrical tune in a
straightforward setting.
The third movement,
Vaudeville, is
light-hearted and witty.
Standing Stones is titled
after numerous sites in
the British Isles where
ancient people erected
huge stones in circles,
singly, or even lining
broad avenues. The
incredible effort
required to do so is
mind-boggling, given the
tools available to the
people. And that they
were able to make
near-perfect circles,
with stones aligned by
the positions of sun and
moon and seasons is
further evidence of their
intelligence and
dedication to ideas and
deep feelings far beyond
the daily tasks of
survival. The music
begins very quietly, in
deep tones, enigmatic
harmonies, and
introspective melodies.
The music gradually takes
on a brighter sound until
it reaches an ecstatic
climax.
Grade 2 SKU: CL.011-3457-00 Composed by Miller. Arranged by A. Clark. You...(+)
Grade 2
SKU:
CL.011-3457-00
Composed by Miller.
Arranged by A. Clark.
Young Concert Band.
Command Series. Audio
recording available
separately (item
CL.WFR336). Lighter.
Score and set of parts.
Composed 2005. Duration 4
minutes, 18 seconds. C.L.
Barnhouse #011-3457-00.
Published by C.L.
Barnhouse
(CL.011-3457-00).
A beautiful
arrangement of one of the
most memorable melodies
of all time that makes a
wonderful concert piece
for any middle school
band. Starts out quietly
featuring the woodwind
section (and optional
choir or audience
sing-a-long) and then the
brass takes over and
builds to a big full
sound. Great piece to
combine choir and band as
the finale of your
concert. A great message
in a great song!
Inspiring and
impressive!
About C.L.
Barnhouse Command
Series
The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content.
Composed by Tony
Bridgewater. Flute
Ensemble. Score and
Parts. Forton Music
#FM532. Published by
Forton Music (FT.FM532).
ISBN
9790570484317.
Tony
Bridgewater's 'Sonata for
Flutes' was written in
2014-2015 for the UK
based National Flute
Orchestra, founded by
Margaret Lowe in 2008,
and was performed in
Birmingham, England,
conducted by the
composer. It is in three
movements. The first is
based around lively,
dancing 7/8 rhythms, with
playful changes in metre,
and ideas thrown between
the instruments in a busy
texture. There is a slow,
reflective middle
section, much more
serious in tone,
featuring various flute
solos. This gradually
returns to the opening
ideas of the movement in
an abbreviated reprise,
before the music ends,
fading away into the
distance, on the dancing
rhythm of the opening.
The second movement is
slow, and suggests a
misty dawn landscape with
its spare, calm texture.
This is followed by a
series of lonely solo
flute melodies which
gradually combine and
build up into a rich,
imitative texture.
Tension and dissonance
builds, but at the climax
a solemn, low melody on
bass and alto flute
returns the music to a
reprise of the first
section, which ends very
quietly and mysteriously.
The rousing final
movement returns to the
joyful dancing rhythms of
the first, now based
around 10/8 time. It is a
rondo, with many playful
variations of the
returning theme shared
between all of the flutes
at each appearance, while
contrasting episodes are
a little more relaxed and
lyrical. A final coda
briefly reprises motifs
from earlier in the
piece, before building to
an exciting
conclusion.
Orchestra (Score) SKU: HL.283507 Orchestra Score. Composed by Bent...(+)
Orchestra (Score)
SKU:
HL.283507
Orchestra Score.
Composed by Bent
Sorensen. Music Sales
America. Classical.
Softcover. 49 pages.
Duration 780 seconds.
Edition Wilhelm Hansen
#KP01914. Published by
Edition Wilhelm Hansen
(HL.283507).
Exit Music for
Orchestra was composed by
Bent Sorensen in 2006-07.
Exit Music was
commissioned by the
Bergen International
Festival for the Bergen
Philharmonic Orchestra,
and is dedicated to Per
Norgard on the occasion
of his 75th birthday.
Programme note It began
with a dream, as it
always does when I
compose. I dreamt that I
was standing in an open
doorway on a hill in an
otherwise open landscape.
I do not know what was
behind the door, but in
front of it - towards the
landscape - I saw my
music disappearing. I
stood looking for the
music, and started to
hear it, to remember it
in time with its
disappearance. The dream
continued to recur as
strange pictures in my
daydreams, and I
continued to try to write
down the music that had
vanished. It was also the
dream that gave the piece
its title- Exit Music.
Exit Music is based on
three simple songs (the
songs that vanish through
the doorway): a little
lullaby, which continues
to reappearin fragments;
a strange polyphonic pop
song that refers to a
section of my opera Under
the Sky; and a passionate
little love song, which
concludes the piece on
the strings, very quietly
and in unison. These
simple songs are then
constantly overpainted by
enervating repeated motes
in fairly simple rhythms,
which push the songs out
of the room. (Bent
Sorensen).
Composed by Tom Gerou. For Piano. Graded Standard Repertoire; Piano Suite; Piano...(+)
Composed by Tom Gerou.
For Piano. Graded
Standard Repertoire;
Piano Suite; Piano
Supplemental; Sheet;
Solo. Recital Suite
Series. Form: Suite.
Recital. Late
Intermediate. 12 pages.
Published by Alfred Music
Caribbean Cocktail Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2.5 SKU: BT.DHP-1135398-215 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2.5
SKU:
BT.DHP-1135398-215
Composed by Roland
Kernen. De Haske Easy
Band Series. Original
Light Music. Score Only.
Composed 2012. 44 pages.
De Haske Publications
#DHP 1135398-215.
Published by De Haske
Publications
(BT.DHP-1135398-215).
9x12 inches.
English-German-French-Dut
ch.
The hot
tropical climate of the
Caribbean makes these
islands a wonderful place
to be. The population is
of largely African
ancestry, together with
people of European and
Amerindian origin. The
community is proud of the
local Creole culture that
gave rise to a musical
style characteristic of
these wonderful
islands.This small
Caribbean Cocktail
includes three different
dances:- A traditional
calypso with vibrant
rhythms driving a
typically Caribbean
melody;- A quieter
beguine, featuring warmer
and tranquil sounds;- A
merengue with a strong
sense of exuberance and
joie de vivre is easy to
hear.This popular
composition captures in
music the feelings of a
communitywhere
life’s joys are
all-important.
Caribbean Cocktail
is a light-hearted piece
that is ideally suited to
youth bancs and ensembles
with an incomplete or
imbalanced
instrumentation.
Op de eilanden in
het Caribisch gebied
heerst een aangenaam
warm, tropisch klimaat.
De meeste bewoners zijn
er van Afrikaanse
afkomst, maar er wonen
ook mensen van Europese
en indiaanse origine. De
gemeenschap is trots op
haar creoolse cultuur,
waaruit een muziekstijl
is voortgekomen die
typerend is voor deze
prachtige
eilanden.Caribbean
Cocktail omvat drie
verschillende dansen:-
een traditionele calypso
met levendige ritmes en
een typisch Caribische
melodie;- een rustige
beguine waarin warmere en
serenere klanken naar
voren komen;- een
merengue in een
uitbundige sfeer en met
een grote joi de
vivre.Deze
temperamentvolle
compositie weerspiegelt
het muzikale gevoelvan
een gemeenschap waarin
men veel belang hecht aan
een vreugdevol,
ongecompliceerd leven.
Caribbean Cocktail
is een luchthartig werk
dat ideaal is voor
jeugdorkesten en
-ensembles met een
onvolledige of
onevenwichtige bezetting.
Die Karibik ist
eine vom heißen
Tropenklima verwöhnte
Inselkette. Die Einwohner
sind schwarzafrikanischer
Herkunft, mehr oder
weniger gemischt mit
Europäern und
amerikanischen
Ureinwohnern. Diese
Gemeinschaft ist stolz
auf ihre kreolische
Kultur, aus der ein
charakteristischer und
auf diesen wunderbaren
Inseln einzigartiger
Musikstil entstanden
ist.Dieser kleine
Karibische
Cocktail“ umfasst
drei unterschiedliche
Tänze:- einen
traditionellen Calypso
mit pulsierenden
Rhythmen, die eine
typisch karibische
Melodie vorantreiben;-
eine ruhigere Beguine mit
wärmeren, ruhigeren
Klängen;- ein
Merengue, in dem eine
überschwängliche
Atmosphäre und
Lebensfreude
vorherrschen.Dieseunterha
ltsame Komposition bringt
musikalisch die
Gefühle einer
Gemeinschaft zum
Ausdruck, in der
Lebensfreude und
Gelassenheit ganz hoch
angesiedelt sind.
Caribbean Cocktail
ist ein unbeschwertes
Stück, das sich ideal
für
Jugendblasorchester und
Ensembles mit
unvollständiger oder
unausgewogener Besetzung
eignet.