Sanctuary Piano Trio: piano, violon, violoncelle [Conducteur] Theodore Presser Co.
Chamber Music Violin, cello, Piano SKU: PR.11441825S Composed by Stacy Ga...(+)
Chamber Music Violin,
cello, Piano
SKU:
PR.11441825S
Composed
by Stacy Garrop.
Contemporary. Score. With
Standard notation.
Composed 2013. 40 pages.
Duration 23 minutes.
Theodore Presser Company
#114-41825S. Published by
Theodore Presser Company
(PR.11441825S).
UPC:
680160643745. 9 x 12
inches.
In 2011,
Barbara Garrop, my
mother, commissioned me
to write a piano trio in
memory of Norman Garrop,
my father, who passed
away about thirty years
ago. When I started
brainstorming about
topics for the piece, I
found it difficult to
recall many moments of my
early life involving my
father. Too many years
had passed, and the
memories that I could
summon were of achild
looking up to her father,
not an adult relating to
an equal. However, while
collecting stories of my
father from various
family members, along
with discovering a number
of objects that had once
belonged to him and that
I had stored away in
boxes decades ago, I
began to realize that
this piece wasn't so much
about my father as it was
about my re-discovering
the man that he was: a
loving husband and dad
who cared deeply about
his family and his
passions (which included
bike riding, collecting
coins, strumming our
guitar, playing baseball,
watching football games,
entertaining people,
helping to run local
theater and puppet
productions, and carving
objects out of wook); an
accountant who dreamed of
a better future: a
treasurer of our local
synagogue; an early
advocate for computers
(we owned an Apple II+);
and a pranster with a
great sense of humor.
Ultimately, I decided to
musically tell the story
of my search for these
memories. In the first
movement (Without), a
child calls out in a
sing-song voice,
searching for her lost
parent. This search
intesifies over the
course of the movement
through a series of
themes, including a
stepping motif in which a
two-note progression
steadily climbs higher, a
pseudo-jewish folksong,
and a passionate longing
theme. The child's search
becomes increasingly
intense throughout the
movement, calling out
fervently and repeatedly
to the parent; the
movement ends in a moment
of great tnesion and
uncertainty. The second
movment (Within) quietly
opens with the lost
parent finally answering,
represented by a solo
cello; the child (now
personified by the
violin) has found the
parent within the
sanctuary of her own
heart. This movement
highlights the joy and
solemnity of this
beautiful discovery.
-S.G.
Dramatic Oratorio or Opera in One Cathartic Act. By PDQ Bach. Arranged by Peter ...(+)
Dramatic Oratorio or
Opera in One Cathartic
Act. By PDQ Bach.
Arranged by Peter
Schickele. Text by Peter
Schickele. For Flute,
Recorder, Clarinet,
Bassoon, Horn, 2 Trumpet,
Trombone, 5 Violin, 5
Viola, 4 Violoncello, 3
Viola Da Gamba, 2
Contrabass, Soprano,
Mezzo, Tenor, Baritone,
SATB, 11 Percussion, 3
Timpani, Keyboard. Piano
Reduction. S. 150.
Duration 30:0. Published
by Theodore Presser
Company.
Chorus a cappella SKU: BR.CHB-5380 Composed by Howard Arman. Choir; stapl...(+)
Chorus a cappella
SKU:
BR.CHB-5380
Composed
by Howard Arman. Choir;
stapled. Chor-Bibliothek
(Choral Library). Song;
Music post-1945; New
music (post-2000). Sheet
Music. Breitkopf and
Haertel #CHB 5380.
Published by Breitkopf
and Haertel
(BR.CHB-5380).
ISBN
9790004413814. 7.5 x 10.5
inches. German /
Latin.
As director
of the Bavarian Radio
Choir, Howard Arman has
been actively engaged
with international
Christmas carols through
various Christmas-related
CD productions in the
past years. This has
resulted in a number of
original arrangements for
four- to eight-part mixed
choir a cappella,
shedding new light on
well-known classics such
as O du frohliche [O, you
joyful], Stille Nacht
[Silent Night] and Lasst
uns froh und munter sein
[Let us be happy and
cheerful]. The first
volume includes five
Christmas carols from the
German-speaking regions.
They range from simple
but harmonically
intriguing settings such
as Lieb Nachtigall, wach
auf [Dear nightingale,
wake up] to eight-part
sound paintings with
bell-like chimes as in O
du frohliche and
classical double choir
settings such as Resonet
in laudibus. The second
volume includes five
Christmas spirituals with
English texts, forming a
contrast to the solemn
and festive character of
the first. The choir can
prove its swing and jazz
qualities here; the
stirring arrangements are
a gain for classical
Christmas concerts, too.
Following the tradition
of the spiritual, some
settings also require
soloists, which can,
however, also be
recruited from the choir
if adequate singers are
available. The first
piece combines the
spirituals It's a
Birthday and Wasn't That
a Mighty Day to form a
medley, Ain't That a
Rockin' gives a moment of
tranquility before the
likewise rousing
spirituals Mary Had a
Baby and Little David
conclude the volume. In
both volumes, Howard
Arman provides a short
preface in German and
English, explaining the
background of each piece
and giving advice on
performance.
Compiled by Richard Walters. For tenor voice and piano. Format: piano/vocal song...(+)
Compiled by Richard
Walters. For tenor voice
and piano. Format:
piano/vocal songbook.
With vocal melody, piano
accompaniment, lyrics and
introductory text.
Broadway and vocal
standards. 224 pages.
9x12 inches. Published by
Hal Leonard.
Violin, piano SKU: BR.EB-9413 Composed by Nicola Campogrande. Solo instru...(+)
Violin, piano
SKU:
BR.EB-9413
Composed
by Nicola Campogrande.
Solo instruments;
stapled. Edition
Breitkopf. New music
(post-2000). Score.
Composed 2020. 28 pages.
Duration 9'. Breitkopf
and Haertel #EB 9413.
Published by Breitkopf
and Haertel (BR.EB-9413).
ISBN 9790004188873. 9
x 12 inches.
For a
long time after
Romanticism had come to
the fore, it was
generally agreed that
Brahms somehow did not
get it: History and
Progress - it was thought
- were proceeding along
one clear path and Brahms
- who was composing
sonatas and symphonies
instead of nocturnes and
symphonic poems - had
taken the wrong way.
Almost one century later,
Schonberg wrote an essay,
Brahms, der
Fortschrittliche (Brahms,
the progressive), in
which he explained that
it wasn't like that at
all.Fully assuming the
risk to appear somehow
irreverent, I have to
confess: Over the years,
I came to the conclusion
that the present - and
the future - can be
created only by loving
the past. As Brahms had
shown us, it is only by
accepting the challenge
of taking our heritage
into our own hands, that
we can create something
new. We cannot avoid
engaging with the past.
Therefore, starting with
my Sinfonia n. 1, I began
to flirt with such a
strong and effective
musical structure like
the sonata form. I
re-read and freely
transformed it, because
it is a sturdy and
resilient structure, but
also a theatrical and
colorful one. For me, it
is a happy structure. And
I think that today more
than ever we need
something like this: We
need to find places -
even imaginary ones -
where we can give
happiness a form of its
own.Nicola Campogrande,
December
2020
World
premiere: Bologna/Italy,
Streaming, April 11,
2021Commissioned by the
Fondazione Musica
Insieme.
Chamber Music Trombone, Piano SKU: PR.144407320 Composed by Lauren Bernof...(+)
Chamber Music Trombone,
Piano
SKU:
PR.144407320
Composed
by Lauren Bernofsky. Set
of Score and Parts. 16+8
pages. Duration 10
minutes. Merion Music
#144-40732. Published by
Merion Music
(PR.144407320).
ISBN
9781491135006. UPC:
680160685998.
From
the pen of Lauren
Bernofsky comes a truly
unique contribution to
the trombone repertoire
– music expressing
the joys and challenges
of parenthood, through a
mother’s eyes.
FROM A MOTHER’S
JOURNAL is a suite of
five movements, Love
Letter, A World of Worry,
Bedtime Battle,
Contentment, and Little
Imp, which bubble with
warmth, irony,
frustration, tenderness,
humor … as complex
a cocktail of emotions as
parenthood itself. The
music explores a broad
range of trombone
techniques, making the
10-minute suite an
exciting tour de force
for any recital. The
idea for FROM A
MOTHER’S JOURNAL
originated during car
ride from an IWBC
conference back to New
York City – Nikki
Abissi and I were sharing
our experiences of the
challenges and joys of
motherhood, and she said,
“Wouldn’t it
be cool to have a
trombone piece written
about all the emotions of
motherhood?†There
certainly wasn’t
one that I knew about!
Not long after, she
contacted me about
writing her exactly that
piece.I thought that this
was definitely a concept
for a piece whose time
had come, and I was
immediately on board with
the project. She sent me
some short descriptions
of some of her
experiences, from the
frustration of getting a
rambunctious baby to go
to sleep at bedtime to
the boundless love she
felt for not just her
baby but her husband, as
a father, as well. I
wrote each anecdote into
a short movement, and the
result was a collection
of musical vignettes
covering a range of moods
and textures as well as
trombone techniques.
Since I, too, am a
mother, I filtered her
anecdotes through my own
lens, and I consider this
piece to be not just a
biography of Nikki but
also my own
autobiography.
Piano (Piano) SKU: HL.48182061 Composed by Olivier Messiaen. Leduc. Post-...(+)
Piano (Piano)
SKU:
HL.48182061
Composed
by Olivier Messiaen.
Leduc. Post-1900.
Softcover. 24 pages.
Alphonse Leduc #AL22937.
Published by Alphonse
Leduc (HL.48182061).
UPC: 888680850685.
9.0x12.0x0.237
inches.
“Oliv
ier Messiaen (1908-1992)
is known for his unique
composition style.
Incorporating complex
rhythms, harmony,
melodies and his passion
for ornithology, his
Catalogue of Birds for
Piano is no exception to
the composer's popular,
distinctive style.
Messiaen became
fascinated by birdsong
from an early age,
however, it wasn't until
the 1950s that he took
his passion to a new
level, incorporating
birdsong in to all of his
compositions. Catalogue
of Birds, composed in
1958, comprises thirteen
movements, each depicting
a specific bird. The
first volume contains the
first three movements; 1)
The Alpine Chough, 2) The
Oriole, and 3) The Blue
Merle. Catalogue of Birds
is essential to all
advanced pianists seeking
to expand and vary their
repertoire.â€.
Chorus a cappella SKU: BR.CHB-5380-00 Composed by Howard Arman. Choir; st...(+)
Chorus a cappella
SKU:
BR.CHB-5380-00
Composed by Howard Arman.
Choir; stapled.
Chor-Bibliothek (Choral
Library). Song; Music
post-1945; New music
(post-2000). Choral
score. 40 pages.
Breitkopf and Haertel
#ChB 5380-00. Published
by Breitkopf and Haertel
(BR.CHB-5380-00).
ISBN
9790004413814. 7.5 x 10.5
inches. German /
Latin.
As director
of the Bavarian Radio
Choir, Howard Arman has
been actively engaged
with international
Christmas carols through
various Christmas-related
CD productions in the
past years. This has
resulted in a number of
original arrangements for
four- to eight-part mixed
choir a cappella,
shedding new light on
well-known classics such
as O du frohliche [O, you
joyful], Stille Nacht
[Silent Night] and Lasst
uns froh und munter sein
[Let us be happy and
cheerful]. The first
volume includes five
Christmas carols from the
German-speaking regions.
They range from simple
but harmonically
intriguing settings such
as Lieb Nachtigall, wach
auf [Dear nightingale,
wake up] to eight-part
sound paintings with
bell-like chimes as in O
du frohliche and
classical double choir
settings such as Resonet
in laudibus. The second
volume includes five
Christmas spirituals with
English texts, forming a
contrast to the solemn
and festive character of
the first. The choir can
prove its swing and jazz
qualities here; the
stirring arrangements are
a gain for classical
Christmas concerts, too.
Following the tradition
of the spiritual, some
settings also require
soloists, which can,
however, also be
recruited from the choir
if adequate singers are
available. The first
piece combines the
spirituals It's a
Birthday and Wasn't That
a Mighty Day to form a
medley, Ain't That a
Rockin' gives a moment of
tranquility before the
likewise rousing
spirituals Mary Had a
Baby and Little David
conclude the volume. In
both volumes, Howard
Arman provides a short
preface in German and
English, explaining the
background of each piece
and giving advice on
performance.
For Ukulele, Baritone
Ukulele, Guitar, Banjo &
Mandolin. Composed by
Various. Arranged by Mark
Phillips. Strum Together.
Country. Softcover. 144
pages. Published by Hal
Leonard (HL.301272).
ISBN 9781540064110.
UPC: 888680964368.
9.0x12.0x0.337
inches.
The Strum
Together series enables
players of five different
instruments – or
any combination of them
– to “strum
together†on great
songs. This easy-to-use
format features melody,
lyrics, and chord
diagrams for five popular
folk instruments:
standard ukulele,
baritone ukulele, guitar,
mandolin, and banjo. This
collection includes 70
all-time country
favorites: Always on My
Mind • Boot
Scootin' Boogie •
Could I Have This Dance
• Deep in the Heart
of Texas • Friends
in Low Places •
Green Green Grass of Home
• Happy Trails
• Hey, Good Lookin'
• I Fall to Pieces
• Jambalaya (On the
Bayou) • King of
the Road • On the
Road Again • Ring
of Fire • Sixteen
Tons • Take Me
Home, Country Roads
• When Will I Be
Loved • Your
Cheatin' Heart •
and more.
Score and Parts Concert Band (Score & Parts) - Grade 4 SKU: HL.44013338 <...(+)
Score and Parts Concert
Band (Score & Parts) -
Grade 4
SKU:
HL.44013338
Euphonium and Concert
Band Score and Parts.
Composed by Philip
Sparke. Anglo Music
Concert Band. Classical.
Softcover. Duration 480
seconds. Anglo Music
Press #AMP449010.
Published by Anglo Music
Press (HL.44013338).
The Legend of
Spirit Island was
commissioned by the Twin
Ports Wind Orchestra,
Duluth, Minnesota (Mark
Whitlock, conductor), to
honour the euphonium
player, Dick Carlson. The
piece takes its title
from a local legend about
Spirit Island, which lies
in a gap ofthe St. Louis
River called Spirit Lake.
The legend tells the
story of Chaska, the son
of a Dakota Chief, and
Wetona, the daughter
ofOjibwe Chief Buckado.
He was handsome and she
was beautiful; it wasn't
long before they fell in
love. This is a
challenging euphonium
solo in which the
versatile soloist can
explore very expressive
melodic sequences, as
well as energetic,
technical sections.
(Mezzo-Soprano/Belter, Volume 1) Accompaniment CD for Mezzo-Soprano voice. CD on...(+)
(Mezzo-Soprano/Belter,
Volume 1) Accompaniment
CD for Mezzo-Soprano
voice. CD only. Series:
Hal Leonard Vocal
Collection. 8 pages.
Published by Hal Leonard.
Tenor Book with Online Audio. Edited by Richard Walters. Vocal Collection. Piece...(+)
Tenor Book with Online
Audio. Edited by Richard
Walters. Vocal
Collection. Piece for the
NFMC Vocal event with the
National Federation of
Music Clubs (NFMC)
Festivals Bulletin
2008-2009-2010.
Instruction, Classical.
Softcover book and
accompaniment CD. 224
pages. Published by Hal
Leonard
Make It Good Ensemble Jazz [Conducteur et Parties séparées] Jazz Lines Publications
By The Duke Pearson Big Band. Arranged by Duke Pearson. For Big Band. Swing. Dif...(+)
By The Duke Pearson Big
Band. Arranged by Duke
Pearson. For Big Band.
Swing. Difficult. Full
score and set of parts.
Published by Jazz Lines
Publications
Arranged by Nancy and Randall Faber. For Piano. PreTime to BigTime Piano Supplem...(+)
Arranged by Nancy and
Randall Faber. For Piano.
PreTime to BigTime Piano
Supplementary Lib Sacred.
Hymns. Level: 2A. Book.
Published by The FJH
Music Company Inc.
Chamber Music Cello, Piano, Violin SKU: PR.114423360 Composed by Stacy Ga...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.114423360
Composed
by Stacy Garrop. Set of
Score and Parts. 24+12+12
pages. Duration 8:30.
Theodore Presser Company
#114-42336. Published by
Theodore Presser Company
(PR.114423360).
UPC:
680160686285.
When
the Newport Music
Festival commissioned me
for a piano trio in honor
of their 2021 season, I
looked for a topic that
would celebrate an aspect
of the Newport community.
While researching the
area, I was struck by the
nine lighthouses situated
around the island. The
dual nature of
lighthouses was
particularly appealing to
me: not only do they
serve a vital role in the
navigation of ships
around rocks and land,
but they are also a
beautiful sight,
particularly at night
when their blinking
beacons are clearly
visible to the eye. It
occurred to me that
lighthouses link the past
with the present, and
will endure long into the
future, with their
beacons serving the same
purpose for every
generation.I became
fascinated with the
lighthouse on the
property of Castle Hill
Inn, located at the
opening of the East
Passage of the
Narragansett Bay. This
squat thirty-four foot
granite structure was
erected in 1890 on a very
picturesque spot, right
at the water’s
edge. Its
“characteristic,â
the nautical term
for each
lighthouse’s
unique light sequence
that allows ships to
identify the lighthouse,
is to alternate on for
three seconds, then off
for three seconds. The
lighthouse has also
served as the starting
and finish line for
numerous high profile
yacht races, as well as
survived a massive
hurricane in 1938, though
the lighthouse
keeper’s nearby
residence wasn’t
so lucky. American
novelist Thornton Wilder
wrote much of his 1973
novel Theophilus North
while staying at the
Castle Hill Inn; a
passage from the book
perfectly captures the
dual nature of
lighthouses:“At a
later visit I was able to
engage the pentagonal
room in a turret above
the house; from that
magical room I could see
at night the beacons of
six lighthouses and hear
the booming and chiming
of as many sea
buoys.â€In Beacon of
the Bay, we first hear
the lighthouse’s
characteristic as its
ruby light blinks on and
off. This is followed by
a simple theme that
represents the lighthouse
performing its solitary
duty. As the piece
progresses, we hear waves
playfully lapping around
its base, then yachts
gracefully floating by;
this is followed by a
violent storm that churns
the waves with so much
force that they crash
against the
lighthouse’s
granite body. But the
steadfast lighthouse
holds firm to the rocks,
grandly blinking its ruby
light. The music quiets
back down to its simple
theme, with yachts
sailing by once more as
the piece concludes.
Organ SKU: HL.14011002 Composed by Franz Liszt. Music Sales America. 20th...(+)
Organ
SKU:
HL.14011002
Composed
by Franz Liszt. Music
Sales America. 20th
Century. Book
[Softcover]. 17 pages.
Music Sales #NOV590180.
Published by Music Sales
(HL.14011002).
UPC:
884088433741.
8.5x11.0x0.079 inches. C.
H. Trevor -
Author.
The
B.A.C.H. motif
has been known and used
for centuries, but
enjoyed a great revival
in the late 19th century
as composers paid homage
to the composer J.S.
Bach. It derives from the
German nomenclature, and
is expressed in standard
notation as
Bb-A-C-B.
The
Fantasia And
Fugue On
B.A.C.H. is one
of the most famous Organ
works of Franz
Liszt (1811-1886).
The piece was intended
for the inauguration of
the famous Ladegast Organ
at Merseburg Cathedral,
but sadly, it wasn't
finished in time.
Liszt then
revised the work in 1870
and produced the version
that survives today. A
well-loved piece, no
organist's library
iscomplete without it.
String Orchestra Soprano
Alto SATB Oboe Trumpet
Organ
SKU:
HL.14035114
By Jasmin
Cameron. By Antonio
Vivaldi. Music Sales
America. Classical.
Score. Music Sales
#NOV078980. Published by
Music Sales
(HL.14035114).
Few baroque
composers were ever able
to create work as sunny,
as joyous as Vivaldi did
in this beloved Gloria.
The contrast of mood
throughout the work as it
moves through the drama
of the Mass to its
satisfying double final
movement shows the
composer at the height of
his powers.Vivaldi
composed this work in
Venice in about 1715,
during his fruitful time
at the Ospedale della
Pieta. In his lifetime
this priest, composer and
virtuoso Violinist
achieved enormous musical
success. Considering his
great popularity in the
modern era, it is
difficult to believe that
public appreciation of
his work declined after
his death and that the
Gloria languished
undiscovered
forcenturies. It wasn't
until 1957 that the
restored work was heard
again in its entirety.
Since that time, this
moving and joyous Gloria
has been recorded more
than one hundred times
and perennially appears
on concert series around
the world.
An American Christmas Guitare notes et tablatures [Partition + CD] - Intermédiaire Mel Bay
Shaker tunes, spirituals, shape-note hymns, and folk songs. Arranged for guitar ...(+)
Shaker tunes, spirituals,
shape-note hymns, and
folk songs. Arranged for
guitar by Mary Lord. For
Guitar (Fingerpicking).
solos. Christmas. Level:
Beginning-Intermediate.
Book/CD Set. Size
8.75x11.75. 88 pages.
Published by Mel Bay
Publications, Inc.
Sanctuary Piano Trio: piano, violon, violoncelle Theodore Presser Co.
Chamber Music Violin, cello, Piano SKU: PR.114418250 Composed by Stacy Ga...(+)
Chamber Music Violin,
cello, Piano
SKU:
PR.114418250
Composed
by Stacy Garrop.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2013. 40+16+16
pages. Duration 23
minutes. Theodore Presser
Company #114-41825.
Published by Theodore
Presser Company
(PR.114418250).
UPC:
680160640959. 9 x 12
inches.
In 2011,
Barbara Garrop, my
mother, commissioned me
to write a piano trio in
memory of Norman Garrop,
my father, who passed
away about thirty years
ago. When I started
brainstorming about
topics for the piece, I
found it difficult to
recall many moments of my
early life involving my
father. Too many years
had passed, and the
memories that I could
summon were of achild
looking up to her father,
not an adult relating to
an equal. However, while
collecting stories of my
father from various
family members, along
with discovering a number
of objects that had once
belonged to him and that
I had stored away in
boxes decades ago, I
began to realize that
this piece wasn't so much
about my father as it was
about my re-discovering
the man that he was: a
loving husband and dad
who cared deeply about
his family and his
passions (which included
bike riding, collecting
coins, strumming our
guitar, playing baseball,
watching football games,
entertaining people,
helping to run local
theater and puppet
productions, and carving
objects out of wook); an
accountant who dreamed of
a better future: a
treasurer of our local
synagogue; an early
advocate for computers
(we owned an Apple II+);
and a pranster with a
great sense of humor.
Ultimately, I decided to
musically tell the story
of my search for these
memories. In the first
movement (Without), a
child calls out in a
sing-song voice,
searching for her lost
parent. This search
intesifies over the
course of the movement
through a series of
themes, including a
stepping motif in which a
two-note progression
steadily climbs higher, a
pseudo-jewish folksong,
and a passionate longing
theme. The child's search
becomes increasingly
intense throughout the
movement, calling out
fervently and repeatedly
to the parent; the
movement ends in a moment
of great tnesion and
uncertainty. The second
movment (Within) quietly
opens with the lost
parent finally answering,
represented by a solo
cello; the child (now
personified by the
violin) has found the
parent within the
sanctuary of her own
heart. This movement
highlights the joy and
solemnity of this
beautiful discovery.
-S.G.
(Piano/Vocal/Guitar). By Lostprophets. For Guitar; Keyboard; Piano; Voice. This ...(+)
(Piano/Vocal/Guitar). By
Lostprophets. For Guitar;
Keyboard; Piano; Voice.
This edition:
Piano/Vocal/Guitar. Book;
Personality Book;
Piano/Vocal/Chords. Faber
Edition. Pop; Rock.
Published by Faber Music
Composed by Johannes Brahms (1833-1897), arranged by F. Wasner. Vocal score for ...(+)
Composed by Johannes
Brahms (1833-1897),
arranged by F. Wasner.
Vocal score for SATB
chorus (a cappella). With
vocal score notation.
Text language English. 4
pages. Published by G.
Schirmer, Inc.
Kritischer Bericht,
Skizzen, Entwurfe,
Fragmente. Composed
by Arnold Schoenberg.
Edited by Ralf Kwasny and
Ulrich Kraemer. This
edition: Full-cloth
binding. Sheet music.
Edition Schott. Critical
commentary, complete
edition. 288 pages.
Schott Music #AS1014-22.
Published by Schott Music
(HL.49018350).
ISBN
9783795794118.
9.0x12.0x0.9
inches.
Arnold
Schonberg is the central
figure in the musical
world of this century.
His musical significance
was already apparent
during his life-time, but
his posthumous influence
has increased immensely.
His work paved the way
for ground-breaking
changes in musical
perception. This complete
edition aspires to be
equally indispensable for
research as well as for
performance. The edition
is published in two
series: series A in folio
format contains all
completed works, all
piano scores prepared by
the composer himself and
all unfinished works
suitable for performance;
also fragments (large
scores) which are better
suited to be printed in
such a format. Series B,
in quarto format,
contains early versions,
sketches, ideas and
fragments as well as
genesis and a Critical
Commentary.
Ostinati Fanfare [Conducteur et Parties séparées] - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-020
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Set (Score & Parts). De
Haske Publications #DHP
1115084-020. Published by
De Haske Publications
(BT.DHP-1115084-020).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Ostinati Fanfare [Conducteur] - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-120 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-120
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Score Only. Composed
2012. 99 pages. De Haske
Publications #DHP
1115084-120. Published by
De Haske Publications
(BT.DHP-1115084-120).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.