Format : Score and Parts
SKU: CF.FAS60F
ISBN 9780825873232. UPC: 798408073237. 8.5 x 11 inches.
Two American Scenes is a composition in two contrasting movements, adding the variety of two styles to your concert program within one piece! The first movement, Stars on the Prairie, is a simple lullaby, and the second, Fiddler's Frolic, is a lively barn dance. Young string players can get acquainted with traditional American music styles right away! Duration: 3:12.
SKU: GI.G-317209
ISBN 9781574631746. UPC: 884088572112.
This book is a must-read for anyone interested in acquiring a back-stage tour of symphony life, not included in the price of a box-office ticket! GAIN a behind-the-scenes look at the orchestra as a family, its discipline, artistry, and devotion, the overwhelming audition process, and the good and bad about the orchestra-musicians' profession. LEARN about the love-hate relationship between musicians and conductors as the author shares his experiences performing under conductors Josef Krips, Seiji Ozawa, Edo DeWaart, Herbert Blomsted, Michael Tilson Thomas, Eugene Ormandy, Igor Stravinsky, Aaron Copland, and Arthur Fiedler. DISCOVER conductors' dictatorial control, interpretative powers, and technical skills, as revealed through quotes from James Levine, John Barbariolli, Gustav Mahler, Daniel Barenboim, and Herbert von Karajan. EXAMINE comments from Leonard Bernstein, Arturo Toscanini, Carl Nielsen, and Lou Harrison that bring a unique awareness to avante-garde music in the chapter titled Cruel and Unmusical. UNDERSTAND the difference between conducting talent and composing talent and how rare it is to possess both. Click here for a YouTube video on The Great American Symphony Orchestra.
SKU: SU.00220528
This CD Sheet Music™ collection surveys the wealth of American concert music from the 19th and 20th centuries. Includes over 150 works for solo piano, piano duo, and piano four-hands by forty familiar and lesser-known American composers. Includes works by: Beach (Four Sketches, Valse Caprice); Bowles (Folk Preludes); Carpenter (Krazy Kat); Chadwick (Caprice); Colderidge-Taylor (Forest Scenes); Cowell (Three Irish Legends); Crawford ; Farwell; Foote (Five Poems after Omar Kayyam); Foster (Quadrilles, Soirée Polka); Gottschalk (Bamboula, Souvenir de Porto Rico); Grainger (Country Garden, Shepherd's Hey); Griffes (Roman Sketches); Herbert; Ives (Some South-Paw Pitching); MacDowell (Woodland Sketches, New England Idyls); Ornstein; Paine; Persichetti (Poems Vols. 1-3); Piston (Passacaglia); Riegger (Petit Etude); Ruggles (Evocations); Sousa (Hail to the Spirit of Liberty, The Stars and Stripes Forever); and more. Also includes composer biographies and relevant articles from the 1911 edition of Grove’s Dictionary of Music and Musicians 2200+ pages
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: GI.G-10304
UPC: 785147030416. English. Text by William Fisher Dickerson.
Contains: All Hail the Morn!, Come, All Ye People, Father, above the Concave Sky, Ministers Who Are Called to Preaching, On Earth, ere Christ the Lord Appeared, O Rapturous Scenes and O What Amazing Bliss.
SKU: FJ.OR5012
UPC: 241444378502. English.
Inspired by train rides through the countryside, this full orchestra work depicts our diverse landscape from vast plains to majestic mountains; from forests and streams to large cities. Rich in history and many cultures, the land tells many stories as varied as the backdrop. The style and spirit of the piece has influences from film and other contemporary American composers. Enjoy the soaring melodies and many colors of a cross-country train ride through the diverse scenes of America.
SKU: FJ.OR5012S
English.
SKU: CY.CC2487
This work for 11-part Brass Ensemble with Timpani and Percussion is a 5-movement suite depicting the development of The Louvre during the Renaissance and utilizing themes from composers of that era. Dello Joio received an Emmy Award for the most outstanding music written for television in the 1964-65 season for his score which was originally for wind band.
Mr. Simard has produced a wonderful score for advanced performers.Instrumentation is:4 Trumpets (part 1 is for piccolo trumpet)2 Horns 3 Trombones, 1 Euphonium, 1 TubaTimpani and 2 PercussionDistributed by Lassus Publications.
SKU: PR.11641963S
UPC: 680160684472.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.
SKU: PR.11641963SP
UPC: 680160684496.
SKU: PR.11641963L
UPC: 680160684489.
SKU: HL.14021087
8.25x12.0x0.059 inches.
John McCabe's Pueblo for solo Double Bass. Duration: approx. 7 minutes.
Pueblo is an off-shoot of a series of compositions inspired by desert country, and it was commissioned by Leon Bosch with the aid of funds provided by North West Arts. The piece is continous, falling into several sections, and is largeley based on the high circling motif heard at the start and referred to again in the harmonics at the close. It is prefaced by the following quotation from Scenes in American Deserta by Reyner Banham, published by Thames and Hudson:
'Clouds, high and flat, were now building up in thesky, the wind was settling to silent calm, the weather was very cold, and the stream through the center of the pueblo was almost frozen across, the Indians chipping out ice to melt down for water.'
The aim in writing the piece was to express in musical terms a response to the vivid picture of a scene relating to life in the American desert conveyed by Reyner Banham's text. Although not numbered among other Desert works, this belongs to this family of compositions, along with another Banham setting, written for the King's Singers, Scenes In America Deserta. - John McCabe
SKU: PR.140401340
ISBN 9781491134450. UPC: 680160684953.
Best known for his settings of spirituals and influence on Dvorák, Henry T. Burleigh was a celebrated baritone, and a prolific composer of original works. FROM THE SOUTHLAND is a suite of six atmospheric scenes of the American south, inspired by Black musical and cultural traditions. FROM THE SOUTHLAND is within reach of intermediate pianists and artistically suited for professional recitals.In 1835, Henry T. Burleigh’s maternal grandfather purchased his own release from slavery for the sum of $50, and traveled north out of Maryland to begin a new life as a free man. He established his family in Ithaca, NY, and then moved to the bustling lakefront city of Erie, PA, where three decades later his grandson Henry would be born and raised.For Burleigh, the “Southland†that inspired this collection of piano sketches was a distant place that could not have been more different from the physical world he knew, up there in the northern snowbelt. And yet these southern landscapes and vignettes must have been intensely present in his consciousness, absorbed through the stories and songs he first learned at his grandfather’s knee.The music of the South – the spirituals and work songs he heard as a child –would travel with Burleigh throughout his long and illustrious musical life. Even as he progressed through his early classical training, his career as a baritone soloist in Erie’s churches and synagogue, his move to New York to study at the National Conservatory of Music, and his rise to national prominence as a concert soloist, these ancestral melodies stayed firmly centered in his musical identity.When he wrote From the Southland, his only composition for solo piano, Burleigh was just beginning his career as a composer. The art songs that would establish him as one of America’s best known composers in the genre were still to come. And so were his iconic arrangements of spirituals that would bring the songs of slavery onto concert stages around the world, transformed into timeless and uniquely American music.These little piano sketches bring together all the things that made Burleigh the musician he was – the lush, late-romantic style of his time; a broad vision for American music; and a profound respect for his heritage, a memory of the world his grandfather left behind, and a love of the music he brought with him.
SKU: PR.416414460
ISBN 9781598064766. UPC: 680160610631. 9x12 inches.
Roger Zare is living every young composer's dream. At a tender age, he has already been lauded by the best, and his compositions continue to earn awards. Green Flash, his first publication with Theodore Presser Company, was written in 2007 for the USC Thornton Symphony, received a BMI Student Composer award in 2007, was chosen to be read at the 2008 American Composers Orchestra Underwood New Music Readings, won the ASCAP Rudolf Nissim Prize in 2009, and has now won the 2012 Symphony in C Young Composers' Competition. For more about Green Flash and a YouTube video of the premiere performance, see the composer's website (www.rogerzare.com/greenflash.htm).A “green flash†is a rare atmospheric phenomenon that occurs as a sunset reaches its end. If conditions are just right, then a spark of green will hover on the horizon for a fleeting moment as the sun disappears. I first witnessed this subtle effect in Florida in 2005. Seeing the mythical event for the first time inspiredthis composition. Green Flash is a musical journey from daybreak to sunset. It focuses on the manipulation of colors and textures throughout its five sections. The musical events are designed to paint a picture of various scenes during the day. The piece begins with the heartbeat of the world emerging from the silentdarkness of the night. As night transitions to dawn, waves of color propagate from the repeating low C, building up through the harmonic series to become the vibrant colors of sunrise. Eventually all twelve notes of the chromatic scale are sounding together. Abruptly, a morning fog engulfs the scene. Out of the mist rises the only melodic theme in the work, played by a solo English horn, and later taken up by other solo winds. Once the fog dissipates, the sky fills with the playful dance of wispy cirrus clouds. A rainbow-like halo surrounds the sun, adding a burst of color to the scene. This carefree, optimistic cloud dance is invaded by a menacing front of cumulonimbus clouds. A storm rages at a frantic pace, but in its dying breath yields the most glorious of sunsets. Only as the last glint of sunlight disappears below the horizon, a faint sparkle of green lingers in the atmosphere.