PARTITIONS GRATUITES : 2 FLûTES (DUO)
- Boundaries

Brass Ensemble - very difficult

SKU: BT.DHP-1145332-070

Op. 118. Composed by Itaru Sakai. De Haske Brass Series. Set (Score and Parts). Composed 2014. 20 pages. De Haske Publications #DHP 1145332-070. Published by De Haske Publications (BT.DHP-1145332-070).

ISBN 9789043136754. 9x12 inches. English-German-French-Dut ch.

This new original composition by the Japanese composer Itaru Sakai for ten-part brass ensemble is characterised by two main ideas: a fanfare section, deriving from a literal quotation from the opening of Mahlerâ??s fifth symphony, and a contrasting,wandering theme thatâ??s rather melancholy.

A BOUNDARY ISLAND is geschreven voor het Brass Ensemble Rose en het RivST Brass Quintet. De première vond op 13 april 2010 plaats in de Rose Hall in het Japanse Toyonaka Osaka, tijdens een concert waarin beide blazersensemblesoptraden. De componistwilde met dit werk het karakter van de muziek als universele taal uitdrukken - een taal waarin mensen uit alle delen van de wereld met elkaar kunnen communiceren.
Aan het begin van de compositie worden tweethemaâ??s ge ntroduceerd: het eerste, in fanfareachtige stijl, is ge nspireerd op een citaat uit de opening van Mahlers vijfde symfonie. Het staat in contrast met het tweede, eerder melancholische thema.Het levendige hoofddeel heeftzijn eigen krachtige thema, maar grijpt ook terug op de twee openingsthemaâ??s, die daarbij in een nieuw jasje worden gestoken. Na een korte terugkeer naar het langzamere tempo van de inleiding wordt het werk met eenvlotter gedeelteafgesloten.
Die Hoffnung, dass in der gemeinsamen Sprache der Musik alle Menschen miteinander sprechen können, ist das zentrale Thema von A BOUNDARY ISLAND.

Zu Beginn des Stückes werden zwei Themen vorgestellt: Das erste, fanfarenartige Thema, das aus einem Zitat vom Beginn von Mahlers SINFONIE NR. 5 entwickelt wurde, steht im Kontrast zum zweiten, eher melancholischen Thema. Der bewegte Hauptteilpräsentiert ein eigenes, kraftvolles Hauptthema, bezieht aber auch beide Einleitungsthemen wieder mit ein und rückt diese teilweise in ein neues Licht. Nach einem kurzen Einschub im langsamen Eingangstempo folgt ein stretta-artiger Schluss.

Dans A BOUNDARY ISLAND, le compositeur souhaitait exprimer le caractère universel de la musique en tant que langage qui permet tout le monde de communiquer.
Deux thèmes sont présentés au début de la pièce : le premier, dans un style de fanfare, rappelle un passage de lâ??introduction de la 5e symphonie de Mahler. Il contraste avec le deuxième motif, plus mélancolique. La section principale, très animée,introduit une nouvelle trame puissante tout en reprenant les premières thèmes en les traitant différemment. Après un bref retour au tempo plus lent de lâ??introduction, la pièce sâ??achève sur un rythme rapide.

Violin 1 (solos: STB - choir: SATB - 3.2.2.2.dble bsn - 2.2.3.0. - timp - str - bc)

SKU: BR.OB-4381-15

Oratorio. Composed by Franz Joseph Haydn. Stapled. Orchester-Bibliothek (Orchestral Library).

In the late 18th century, Joseph Haydn composed a choral work - The Creation - which set the standard for the sacred oratorio genre that stood long after the Viennese classical era and far beyond the boundaries of the German linguistic spher. Oratorio/passion; Classical. Part. 32 pages. Duration 120'. Breitkopf and Haertel #OB 4381-15. Published by Breitkopf and Haertel (BR.OB-4381-15).

ISBN 9790004306802. 10 x 12.5 inches.

Following sensationally acclaimed premiere performances in Vienna, The Creation was published in several languages and by various publishing houses, including Breitkopf & Hartel in Leipzig. We now know that a continuo instrument was used for Haydn's oratorio as premiered in Vienna. The supplementary continuo part enables an historically accurate reproduction for the first time: the harpsichord (and, increasingly, the pianoforte) fulfilled the important continuo function in the orchestras of the time.

In the late 18th century, Joseph Haydn composed a choral work - The Creation - which set the standard for the sacred oratorio genre that stood long after the Viennese classical era and far beyond the boundaries of the German linguistic sphere.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3

SKU: CF.CPS234

Composed by Travis Weller. Folio. Cps. Set of Score and Parts. 8+8+4+8+8+8+4+4+8+4+4+8+8 +8+8+6+6+6+4+8+6+2+4+4+6+ 32 pages. Duration 3 minutes, 10 seconds. Carl Fischer Music #CPS234. Published by Carl Fischer Music (CF.CPS234).

ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

Chorus (with soloists) and orchestra (solos: STB - choir: SATB - 3.2.2.2.dble bsn - 2.2.3.0. - timp - str - bc)

SKU: BR.PB-4381

Oratorio. Composed by Franz Joseph Haydn. Edited by Eusebius Mandyczewski. Choir; Softbound. Partitur-Bibliothek (Score Library).

In the late 18th century, Joseph Haydn composed a choral work - The Creation - which set the standard for the sacred oratorio genre that stood long after the Viennese classical era and far beyond the boundaries of the German linguistic spher. Oratorio/passion; Classical. Full score. 232 pages. Duration 120'. Breitkopf and Haertel #PB 4381. Published by Breitkopf and Haertel (BR.PB-4381).

ISBN 9790004203002. 9 x 12 inches.

Following sensationally acclaimed premiere performances in Vienna, The Creation was published in several languages and by various publishing houses, including Breitkopf & Hartel in Leipzig. We now know that a continuo instrument was used for Haydn's oratorio as premiered in Vienna. The supplementary continuo part enables an historically accurate reproduction for the first time: the harpsichord (and, increasingly, the pianoforte) fulfilled the important continuo function in the orchestras of the time.

In the late 18th century, Joseph Haydn composed a choral work - The Creation - which set the standard for the sacred oratorio genre that stood long after the Viennese classical era and far beyond the boundaries of the German linguistic sphere.

Viola (solos: STB - choir: SATB - 3.2.2.2.dble bsn - 2.2.3.0. - timp - str - bc)

SKU: BR.OB-4381-19

Oratorio. Composed by Franz Joseph Haydn. Stapled. Orchester-Bibliothek (Orchestral Library).

In the late 18th century, Joseph Haydn composed a choral work - The Creation - which set the standard for the sacred oratorio genre that stood long after the Viennese classical era and far beyond the boundaries of the German linguistic spher. Oratorio/passion; Classical. Part. 28 pages. Duration 120'. Breitkopf and Haertel #OB 4381-19. Published by Breitkopf and Haertel (BR.OB-4381-19).

ISBN 9790004306826. 10 x 12.5 inches.

Following sensationally acclaimed premiere performances in Vienna, The Creation was published in several languages and by various publishing houses, including Breitkopf & Hartel in Leipzig. We now know that a continuo instrument was used for Haydn's oratorio as premiered in Vienna. The supplementary continuo part enables an historically accurate reproduction for the first time: the harpsichord (and, increasingly, the pianoforte) fulfilled the important continuo function in the orchestras of the time.

In the late 18th century, Joseph Haydn composed a choral work - The Creation - which set the standard for the sacred oratorio genre that stood long after the Viennese classical era and far beyond the boundaries of the German linguistic sphere.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3

SKU: CF.CPS234F

Composed by Travis Weller. Sws. Cps. Full score. 32 pages. Duration 3 minutes, 10 seconds. Carl Fischer Music #CPS234F. Published by Carl Fischer Music (CF.CPS234F).

ISBN 9781491156353. UPC: 680160914890. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

Solo alto flute

SKU: P2.10031

Composed by Ellen Lindquist. Solo music, 20th century. Published by Potenza Music (P2.10031).

Nakoda is named for the alpha female of the Peter Lougheed wolf pack, who was killed--legally--by a hunter in Kananaskis country (near Banff, Alberta, Canada) on September 22, 2000. While wolves and other large predators essential to the ecological balance of the region are protected within the boundaries of Banff National Park (as well as other nearby protected areas), it is sadly still legal to hunt them outside of Park boundaries. Nakoda, herself named for the Nakoda First Nations tribe of the Bow Valley (among many other areas), was first collared in 1996 with a transceiver that allowed wildlife ecologists to obtain valuable data on the pack's wide-ranging movements over the course of the year. (This kind of data can be used to help create laws that protect wolves and preserve critical habitat.) Nakoda is dedicated to the conservation of large predators everywhere--in particular the wolves of the Canadian and American Rockies.

Compose d while in residence at Canada's Banff Centre for the Arts for flutist Erin Lesser, Nakoda uses several extended flute techniques, including percussive sounds, pitch bending, and singing into the instrument. Many thanks to Erin Lesser for her willingness to share the secrets of the alto flute's soundworld.

Double bass (solos: STB - choir: SATB - 3.2.2.2.dble bsn - 2.2.3.0. - timp - str - bc)

SKU: BR.OB-4381-27

Oratorio. Composed by Franz Joseph Haydn. Stapled. Orchester-Bibliothek (Orchestral Library).

In the late 18th century, Joseph Haydn composed a choral work - The Creation - which set the standard for the sacred oratorio genre that stood long after the Viennese classical era and far beyond the boundaries of the German linguistic spher. Oratorio/passion; Classical. Part. 28 pages. Duration 120'. Breitkopf and Haertel #OB 4381-27. Published by Breitkopf and Haertel (BR.OB-4381-27).

ISBN 9790004306840. 10 x 12.5 inches.

Following sensationally acclaimed premiere performances in Vienna, The Creation was published in several languages and by various publishing houses, including Breitkopf & Hartel in Leipzig. We now know that a continuo instrument was used for Haydn's oratorio as premiered in Vienna. The supplementary continuo part enables an historically accurate reproduction for the first time: the harpsichord (and, increasingly, the pianoforte) fulfilled the important continuo function in the orchestras of the time.

In the late 18th century, Joseph Haydn composed a choral work - The Creation - which set the standard for the sacred oratorio genre that stood long after the Viennese classical era and far beyond the boundaries of the German linguistic sphere.