| Jarba, Mare Jarba Chorale SATB Carl Fischer
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir SKU:
CF.CM9700 Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700). ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk. In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Grounds For Solo Double Bass Contre Basse Boosey and Hawkes
Double Bass SKU: BT.YE0007 Yorke Edition. Composed by F. Baines. B...(+)
Double Bass SKU:
BT.YE0007 Yorke
Edition. Composed by
F. Baines. Book Only.
Yorke Edition #YE0007.
Published by Yorke
Edition (BT.YE0007).
Born in Oxford
in 1917, Francis Baines
was a well-known and much
respected professional
double bass player. He
studied at the Royal
College of Music in
London with Claude
Hobday, where he later
taught. Something of an
eccentric,he immersed
himself in early music at
a time when few people
were taking it seriously.
He owned a beautiful
Amati bass that he had
restored as a violone,
which it probably was
originally, and he was a
regular fixture as
aprincipal player in a
number of orchestras and
ensembles that dedicated
themselves to period
performing, including
those directed by Denys
Darlow, with whom he
broadcast and recorded
frequently.
Besi
des playing
thedoublebass, Francis
Baines was an exponent of
the treble viol and led
the Jaye Consort of Viols
which he founded. He also
played several kinds of
bagpipe and the
hurdy-gurdy. As a
composer he dabbled in
many styles, one of
hisgreatest claims to
fame being that of
writing for the popular
Hoffnung concerts in the
1960s.
He was
the author of a number of
papers about the history
of the double bass,
sometimes arriving at
scholarly conclusionsthat
were colourful, if not
always entirely accurate.
He discovered the
Giovannino del Violone
sonatas, subsequently
published by Yorke
Edition, although today
it is thought that they
were probably not written
for a 16' pitchinstrument
at all. His edition of
the Capuzzi double bass
concerto, published by
Boosey & Hawkes, was for
many years one of the few
solo works available for
the instrument. This,
however, he largely
re-composed because
hethought it could be
improved: towards the end
of his life he confessed
that with hindsight he
probably should have
treated it
differently.
Gro
unds was written in 1969
as a sort of party piece
and was given to
YorkeEdition in support
of a drive to enlarge the
repertoire for the
instrument in a wide
variety of styles. It was
set on the syllabus of
the Associated Board of
the Royal Schools of
Music for many
years.
Francis
Baines died. $4.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Quartet For Double Basses 4 Contrebasses Yorke Edition
Double Bass Quartet SKU: BT.YE0036 Composed by Joseph Lauber. Classical. ...(+)
Double Bass Quartet
SKU: BT.YE0036
Composed by Joseph
Lauber. Classical. Set
(Score and Parts). Yorke
Edition #YE0036.
Published by Yorke
Edition (BT.YE0036).
Four movements,
top part advanced.
Several recordings and
many broadcasts. Duration
c.13'.
Programme
Notes:
The Swiss
composer Joseph Lauber
was born at Ruswil near
Lucerne in 1864. After
studying with Heger in
Zürich and Rheinberger
in Munich, Lauber worked
with Diémer and
Massenet in Paris. With
Massenet he learnt a
great deal about
orchestration, a subject
that he subsequently
taught until the end of
his life at the Geneva
conservatoire as well as
piano and composition. He
died in
1952.
Lauber's
193 catalogued works are
many and varied. He wrote
for all instruments and
in every genre except
oratorio and opera. Among
his output areseveral
works for double bass,
most written for Prof.
Hans Fryba, a personal
friend with whom he
worked as a double bass
and piano recital duo.
Fryba was one of the
leading players in Europe
in his day and was
principal of the Berlin
Philharmonic Orchestra.
First was Theme and
Variations (1936-7) and a
Rhapsodie with orchestra
(1937). Three Walzes
followed in 1939, a
Gavotte and Gigue, a
Sonata and then in 1943
Fantasie de Concert,
written for the Geneva
Competition. Four
Caprices appeared in
1942, the same date as
the Quartet for double
basses which was
dedicated to Fryba and
written for the Berlin
Philharmonic Double Bass
Quartet, one of the first
ever such ensembles to
exist.
The
Quartet for double basses
was revived by Klaus
Stoll in the 1970s for
the Philharmonic Double
Bass Quartet at that time
to play. It was
subsequently published in
1975 by Yorke Edition by
kind permission of the
composer's son Edmund
Lauber.
Rodney
Slatford 2004
$19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| A Love Supreme Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Recorded by the Lincoln Center Jazz Orchestra. Arranged by Wynton Marsali...(+)
Recorded by the
Lincoln Center Jazz
Orchestra. Arranged
by Wynton Marsalis. Jazz,
Swing. Score and parts.
Published by Jazz Lines
Publications
(JL.JLP-7420).
$150.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Prelude a lapres-midi dun faune for Orchestra Contre Basse Barenreiter
Double bass SKU: BA.BA08841-85 Composed by Claude Debussy. Edited by Doug...(+)
Double bass SKU:
BA.BA08841-85
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Folded.
Barenreiter Urtext.
Single part. 3 pages.
Duration 10 minutes.
Baerenreiter Verlag
#BA08841_85. Published by
Baerenreiter Verlag
(BA.BA08841-85). ISBN
9790006541256. 32.5 x
25.5 cm
inches. Prelude a
l'apres-midi d'un faune,
often referred to as the
first composition of the
modern era, is one of
Debussy's most popular
and frequently performed
orchestral works. The
piece comes down to us in
an array of sources, and
several important ones
are drawn upon for the
first time in
Baerenreiter's new
scholarly-critical
edition. Most of the
currently available
editions are based on the
first edition from 1895
which, however, contains
many engraver errors.
When the corresponding
orchestral parts are also
taken into consideration,
countless discrepancies
are
revealed. Baerenreiter
's Urtext edition
incorporates readings of
a printed copy of the
score from c. 1908 which
shows corrections and
emendations by the
composer. These important
changes, found in no
other source, include
metronome markings,
different pitches and
additional notes, as well
as added tempo and
articulation markings,
which all subtly enhance
Debussy's finely sculpted
work. There is even a
breath mark added to the
famous solo flute passage
which opens the
work. * Scholarly
critical edition with
many corrections in the
score and orchestral
parts * Clear
presentation of
orchestral parts in an
enlarged format.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts - Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| All About Music Songs! Voix d'Enfants Alfred Publishing
(8 Great Unison Songs and Activities Teaching Musical Terms). Composed by Mark B...(+)
(8 Great Unison Songs and
Activities Teaching
Musical Terms). Composed
by Mark Burrows. Book;
Classroom/Pre-School;
Enhanced CD; General
Music and Classroom
Publications;
Reproducible. 56 pages.
Published by Alfred Music
$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Nightingale (Le Rossignol) for Tuba or Bass Trombone & Piano - Avancé Cherry Classics
Tuba or Bass Trombone and Piano - advanced SKU: CY.CC2513 Composed by Cam...(+)
Tuba or Bass Trombone and
Piano - advanced SKU:
CY.CC2513 Composed by
Camille Saint-Saens.
Arranged by Ralph Sauer.
French 20th Century. Solo
part and piano score.
Published by Cherry
Classics (CY.CC2513).
Le Rossignol or
the Nightingale is
originally a vocalise for
Soprano solo from
Saint-Saen's incidental
orchestral music for the
play, Parysatis written
in 1902. This 4 minute
work is all about mood.
For this arrangement, Mr.
Sauer transposes into the
key of C, which lays
perfectly for all of the
bird-like calls that are
in phrases which are
slurred. The music has a
lot of ad lib. tempo
sections which gives the
performer plenty of time
to create that magic call
of the Nightingale. Early
writers thought it was
the female that sang, but
in fact it is the male.
The Nightingale usually
sings at night or just
before dawn when other
birds are silent and has
a strong spontaneous song
with an impressive range
of trills and
whistles. $15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| For the Mystic Harmony [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
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