SKU: SU.32040150

From delightful to lonesome to fiery, this three movement suite invites both performers and listeners to share the joy of being enveloped in richness of tone, creating poignant expressions of the heart. Marvelous recital and concert music. Vignette I: Delightful Dance Jaunty rhythms and clever surprises render a joyful opening section. Later, a warm, love filled melody is poured out by each instrumentalist, and climbs to a glorious tutti. Then it is back to the joyful dance, a few more surprises, and a delightfully happy ending. Vignette II: Lonesome Chaconne opens with two dark chords. Then the piano begins the chaconne with a mournful bass line and plaintive off beats. The viola enters and plays a lonesome melody, then is joined by the cello in a melancholy duet over the chaconne until it dies away. The cello's brief recitative emerges from the depths into an aching cry that is then echoed by the viola. Joining together, they pour out a fervent melody, moving higher and higher until they breakthrough to the light. Alas, the vision fades, and they return to only fragments as the chaconne disappears. Vignette III: Fiery Fugue opens with a feisty subject melody, first in the viola, followed by the cello, piano right hand, and left hand. It is similar in form to a Bach fugue, but uses modal tonality and syncopated rhythms. The statements and episodes build to a recall of the fervent melody from the second movement, leading to the final dynamic unison statement of the fugue subject. Just as it almost dies away, it recharges and boldly bounds ahead to the end. Difficulty Level: 5 (Advanced) Viola, Cello, Piano Duration: 13'30 Composed: 2016 Published by: Amy Mills Music, LLC See composer website for audio sample.

SKU: CL.012-3311-00

A programmatic work based on historical events from three centuries of Southern history. These musical vignettes create three moods which vividly represent Charleston 1774, Atlanta 1864, Nashville 1937. Wonderful music that provides an excellent opportunity for collaboration in a multi-discipline teaching setting. VERY EFFECTIVE!

About Heritage of the March

Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style

SKU: CL.012-3311-01

A programmatic work based on historical events from three centuries of Southern history. These musical vignettes create three moods which vividly represent Charleston 1774, Atlanta 1864, Nashville 1937. Wonderful music that provides an excellent opportunity for collaboration in a multi-discipline teaching setting. VERY EFFECTIVE!

About Heritage of the March

Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style

SKU: SS.50600170

SKU: SU.50600170

Published by Seesaw Music.

SKU: HL.14076030

SKU: HL.14023441

ISBN 9788759864906. Danish.

Suitable for Treble Recorder.

SKU: EC.RBM-220

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SKU: GH.LUN-570-0177

Three musical vignettes to August Strindberg's Stadsresan for piano.

SKU: AP.42791

SKU: CL.012-3311-75

SKU: PE.EP73727

ISBN 9790577024004.

Ombr a (2022) is a 40' dramatic vocalise for mezzo-soprano and viola in three parts, first performed as part of The Wernicke's Area, a mixed media installation led by ANU Productions at the Irish Museum of Modern Art. The work can be performed in its acoustic version or accompanied by sound design, created by Bofan Ma, based on the original immersive sound design from The Wernicke's Area.

The work responds to the story and medical condition of Debbie Boss, wife of ANU's co-artistic director and visual artist Owen Boss. In 2014 Debbie was admitted to hospital for surgery to remove a previously undiagnosed meningioma tumour from a part of the brain known as the Wernicke's Area. Since the surgery her everyday life has been affected by epilepsy. When Debbie suffers a seizure the symptoms manifest as audio hallucinations and aphasia: a loss of comprehension of both heard and spoken words.

Ombra takes inspiration from a series of diaries kept by Debbie, a trained soprano who can no longer remember the lyrics to even the simplest of songs. Responding to George F. Handel's 'Ombra mai fu', which was Debbie's favourite aria to perform, as well as to the mirage-like sounds of an AI-inflected Dublin cityscape, Ombra is a mental theatre, embodying an inward, ever circling wonder about meaning and comprehension.

In Ombra I, mezzo-soprano and viola unite in an intense unison exploration of a brief melodic fragment from 'Ombra mai fu'. A set of 8 short dramatic vignettes form Ombra II. In Ombra III, Handel's original melody is foregrounded with an instruction in the score 'Repeat ad infinitum'. As mezzo-soprano alternates between singing, humming and silence, viola is instructed to play at times with gradual or sudden transitions between p e dolce sempre and sounding 'like concete being grated', a final reference to the diaries.

Ombra is dedicated to Debbie.

Commission ed by ANU Productions as part of The Wernicke's Area, funded by the Arts Council.

SKU: PR.140401340

ISBN 9781491134450. UPC: 680160684953.

Best known for his settings of spirituals and influence on Dvorák, Henry T. Burleigh was a celebrated baritone, and a prolific composer of original works. FROM THE SOUTHLAND is a suite of six atmospheric scenes of the American south, inspired by Black musical and cultural traditions. FROM THE SOUTHLAND is within reach of intermediate pianists and artistically suited for professional recitals.
In 1835, Henry T. Burleigh’s maternal grandfather purchased his own release from slavery for the sum of $50, and traveled north out of Maryland to begin a new life as a free man. He established his family in Ithaca, NY, and then moved to the bustling lakefront city of Erie, PA, where three decades later his grandson Henry would be born and raised.For Burleigh, the “Southland” that inspired this collection of piano sketches was a distant place that could not have been more different from the physical world he knew, up there in the northern snowbelt. And yet these southern landscapes and vignettes must have been intensely present in his consciousness, absorbed through the stories and songs he first learned at his grandfather’s knee.The music of the South – the spirituals and work songs he heard as a child –would travel with Burleigh throughout his long and illustrious musical life. Even as he progressed through his early classical training, his career as a baritone soloist in Erie’s churches and synagogue, his move to New York to study at the National Conservatory of Music, and his rise to national prominence as a concert soloist, these ancestral melodies stayed firmly centered in his musical identity.When he wrote From the Southland, his only composition for solo piano, Burleigh was just beginning his career as a composer. The art songs that would establish him as one of America’s best known composers in the genre were still to come. And so were his iconic arrangements of spirituals that would bring the songs of slavery onto concert stages around the world, transformed into timeless and uniquely American music.These little piano sketches bring together all the things that made Burleigh the musician he was – the lush, late-romantic style of his time; a broad vision for American music; and a profound respect for his heritage, a memory of the world his grandfather left behind, and a love of the music he brought with him.

SKU: CA.241000

Language: all languages.

The three enchanting, illustrated Songbooks contain the most beautiful and well known German lullabies, children's songs and Christmas songs. The instrumental CDs which accompany these collections invite one and all to sing along. They contain many color, double-page illus trations and vignettes by Markus Lefrancois and Frank Walka. 3 volumes in hardcover, including CDs to sing along in an attractive slipcase.

SKU: KJ.GB887F

Hansel and Gretel, arranged by Ron Cowherd, takes the form of an overture, containing three musical vignettes from the opera: Evening Prayer; Brother, Come and Dance and There Stands a Little Man. The arranger has faithfully captured the magic of the original in the carefully scored arrangement that will make your band sound great! Correlates With Best In Class Bk. 2 Page 19 / SOE Bk. 2 Page 25.

SKU: P2.80061

Travelieder is an exploration of multiphonics and sound effects for trombone. The three movements, Voyage, Journey, and Arrival, were born of a desire to have short, striking, unaccompanied works to play at the beginnings of masterclasses and presentations. Bearing this in mind, it is perfectly acceptable to extract just one movement to play at the beginning of a masterclass, in a recital or any other venue. The title, Travelieder, comes from the fact that I often travel from place to place to deliver masterclasses. Lieder, of course, are songs - thus highlighting the song-like quality of the lyrical movements in these little vignettes. The work as a whole has cyclical elements, with key centers and themes or derivatives of themes shared from one movement to another. If the singing requirements for multiphonics are out of range, feel free to transpose octaves, or even change the sung pitches (as long as the new notes are within the prevailing harmony) to accommodate vocal range. The main issue is to retain the spirit and harmonic integrity of the music.

SKU: KN.08868S

UPC: 822795088687.

We welcome Lorie Gruneisen to the Kendor family of writers with this dramatic original. Depicting danger and intrigue on a sailing vessel from three centuries ago, this imaginative vignette features a majestic captain's theme, a jig dance on deck by the crew, and even a skirmish with pirates. It's perfect for groups that are just starting shifting in 1st Violin parts. Duration 2:30. Available in SmartMusic.