PARTITIONS GRATUITES :
- Court Mast

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS153

Composed by Peter Terry. Young String Orchestra. Set of Score and Parts. With Standard notation. 16+10+16+4+10+3+5+12 pages. Duration 3 minutes, 2 seconds. Carl Fischer Music #YAS153. Published by Carl Fischer Music (CF.YAS153).

ISBN 9781491143629. UPC: 680160901128. Key: D major.

Black Mast conjures images of a dramatic life on the high seas of a pirate captain and crew. The music is in minor with angular melodies and contrast created through changes in tempo. A maestoso presentation of the theme leads to a dramatic conclusion.
Black Mast conjures images of a dramatic life on the high seas in the service of a pirate captain and crew. The work opens with a dramatic introduction, followed by the main theme at m. 9. At m. 17 a secondary theme related to the primary melody emerges; the primary theme reappears at m. 25 in the violas and cellos. A briskersecond theme, at a faster tempo, derived from the introduction emerges in m. 33. This second theme alternates with a lyrical courtly dance theme beginning in m. 45. This section reflects the non-combative aspects of life at sea and the joy of moving before the wind. At m. 73 the piece returns to the vigorous first theme andthe secondary theme from m. 17 leading to a dramatic, swashbuckling ending.Care should be taken to contrast the robust music of the primary themes and the more dance-like music of the middle section. I am privileged to be able to share this work with you and your students. I hope that it serves to both entertain and educate.—Peter TerryBluffton, Ohio 2016.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

Danceries by Kenneth Hesketh. Concert Band. For Wind Band. Part(s); Score; Wind Band. Faber Edition: Faber Wind Band Series. 20th Century; Masterwork. Published by Faber Music

Choir; Early Music; Voice

SKU: UT.ODH-35

Edited by Stefania Lanzo. Paperback (Soft Cover). Odhecaton. Classical. Softcover. 144 pages. Ut Orpheus #ODH 35. Published by Ut Orpheus (UT.ODH-35).

ISBN 9790215322578. 9 x 12 inches.

L’am orosa caccia is a collection of 24 madrigals for five voices, created specially by as many composers originating from Mantua. All were distinguished professional people, working within the church, at court or in the Palatine basilica of Saint Barbara, and music lovers of noble birth from the area who were somehow connected to the Academy of the Invaghiti, or perhaps part of the same. Among the established musicians of the collection are to be mentioned: G.M. Bacchino, H. Baccusi, P. Cantino, A. Coma, G. Moro, S. Nascimbeni, A. Nuvoloni, N. Parma, G.B. Recalchi, F. Rovigo, A. Striggio, R. Trofeo. The lesser-known, however, seem to be: C. Accelli, E. Ceruti, S. Cressoni, P. Marni, A. Preti, while the following: H. Borelli, C. Ceruti, O. Grassi, P. Massari, G.B. Orto, F. Ramesini, C. Zucca have become known as composers only thanks to L’amorosa caccia.
The realization in score of the madrigals has made it possible to bring to light this collection, establishing its actual musical value and proving the remarkable mastery of madrigal writing of these 24 musicians and offering the opportunity to highlight each one’s different skill as a composer. If some of them have proved to be completely in line with the practices of the time, verging on Augenmusik, others stand out for the wide variety of their harmonies, melodies and rhythms, seeking the best musical expressions to express the affetti contained in the text.
There are no major breakthroughs, but, if the contrapuntal procedures are as to be expected, the body of voices, the experimentation, the interplay between the parts and the harmonic sensitivity show familiarity with the vocal virtuosity of the concerti di dame of Ferrara and Mantua, bringing out what was most modern at the time. The possibility that these madrigals may actually have been performed by that very group of talented singers is enchanting and entirely plausible.

Composed by Kenneth Hesketh. 5 or More; Performance Music Ensemble; Solo Small Ensembles; Wind Band. Faber Edition: Faber Wind Band Series. Form: Dance. 20th Century; Masterwork. Score. Faber Music #12-0571564704. Published by Faber Music

Composed by Kenneth Hesketh. 5 or More; Brass Band; Performance Music Ensemble; Solo Small Ensembles. Faber Edition: Faber Brass Band Series. Form: Dance. 20th Century; Masterwork. Part(s); Score. Faber Music #12-0571565123. Published by Faber Music

Concert Band; Orchestra 2.0.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Violin in set

SKU: AP.36-A744690

Composed by Wolfgang Amadeus Mozart. Full Orchestra, Conductor Score & Parts. Kalmus Orchestra Library. Score and Part(s). LudwigMasters Publications #36-A744690. Published by LudwigMasters Publications (AP.36-A744690).

UPC: 659359882814. English.

It is widely believed that Wolfgang Amadeus Mozart (1756-1791) wrote the Adagio in E major, K. 261 in or around 1776 as a replacement for the second movement of his Violin Concerto No. 5 in A, K. 219. The likely reason for the replacement is a complaint by Italian violinist Antonio Brunetti, recently brought to the Salzburg court orchestra by the Prince-Archbishop of Salzburg, Heironymus Colloredo, that the original movements was too artificial, according to a letter from Leopold Mozart. The Mozarts, finding Brunetti boorish and morally objectionable, also would have thought his complaint regarding the artificial second movement to confirm their worst opinions of Italian taste. Still, young Mozart wrote the replacement Adagio as requested, and its serene beauty in sonata form remains a fine example of his lyrical ability. Instrumentation: 2.0.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Violin in set.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Concert Band; Orchestra 2.0.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Violin in set

SKU: AP.36-A744601

Composed by Wolfgang Amadeus Mozart. Full Orchestra, Conductor Score. Kalmus Orchestra Library. Score. LudwigMasters Publications #36-A744601. Published by LudwigMasters Publications (AP.36-A744601).

ISBN 9798888529805. UPC: 659359863653. English.

It is widely believed that Wolfgang Amadeus Mozart (1756-1791) wrote the Adagio in E major, K. 261 in or around 1776 as a replacement for the second movement of his Violin Concerto No. 5 in A, K. 219. The likely reason for the replacement is a complaint by Italian violinist Antonio Brunetti, recently brought to the Salzburg court orchestra by the Prince-Archbishop of Salzburg, Heironymus Colloredo, that the original movements was too artificial, according to a letter from Leopold Mozart. The Mozarts, finding Brunetti boorish and morally objectionable, also would have thought his complaint regarding the artificial second movement to confirm their worst opinions of Italian taste. Still, young Mozart wrote the replacement Adagio as requested, and its serene beauty in sonata form remains a fine example of his lyrical ability. Instrumentation: 2.0.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Violin in set.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Concert Band; Orchestra 2.0.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Violin in set

SKU: AP.36-A744648

Composed by Wolfgang Amadeus Mozart. Full Orchestra, Solo Violin Part. Kalmus Orchestra Library. Part(s). LudwigMasters Publications #36-A744648. Published by LudwigMasters Publications (AP.36-A744648).

ISBN 9798888529812. UPC: 659359901379. English.

It is widely believed that Wolfgang Amadeus Mozart (1756-1791) wrote the Adagio in E major, K. 261 in or around 1776 as a replacement for the second movement of his Violin Concerto No. 5 in A, K. 219. The likely reason for the replacement is a complaint by Italian violinist Antonio Brunetti, recently brought to the Salzburg court orchestra by the Prince-Archbishop of Salzburg, Heironymus Colloredo, that the original movements was too artificial, according to a letter from Leopold Mozart. The Mozarts, finding Brunetti boorish and morally objectionable, also would have thought his complaint regarding the artificial second movement to confirm their worst opinions of Italian taste. Still, young Mozart wrote the replacement Adagio as requested, and its serene beauty in sonata form remains a fine example of his lyrical ability. Instrumentation: 2.0.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Violin in set.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.