Format : Score
SKU: HL.49047209
UPC: 196288159513.
In my sixth work for a string quartet, there is a very simple melody concealed in the background. That melody (distant voices) is played within an extremely slow tempo, and the notes which form the melody gain different textures by becoming disassembled, and played by different techniques. In our daily lives, our inner voices become concealed by our daily customs. The act of composing, tome, is to find out that concealed distant voices, make those voices spatialized and construct them within the musical time. This work is dedicated to Alois Lageder. Toshio Hosokawa.
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SKU: HL.14027831
ISBN 9788759806241.
Work for Clarinet, Violin, Cello and Piano. The composer writes: VOIX INTERIEURES (1990-92). The title has a double reference: to the 'inner voices' of the mind, expressing our (hardly conscious) impulses, feelings, dreams and to the 'inner voices' of the music in the sense of internal parts and relations. Thus the title points to the obscure reflections of the ones in the others. During the piece, there is a gradual transformation of the internal parts, such as interval patterns, sonorities and dynamics - running alongside the easily perceptible expansion of register. The music is so to say 'turned inside out'.
SKU: CF.YPS38
ISBN 9780825852152. UPC: 798408052157. 9 X 12 inches. Key: Eb major. Text: Al Stillman. Al Stillman.
The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal. The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a hymn-style section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program. -LARRY CLARK New York, NY 2003.The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal.The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a “hymn-style†section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program.-LARRY CLARKNew York, NY 2003.
SKU: HL.14027832
ISBN 9788759867167.
SKU: HL.50606507
ISBN 9781705190708. UPC: 196288126836.
To celebrate the 85th birthday of Arpad Balazs, a selection of his rich output of choral music has been published. Arpad Balazs is an outstanding artist of his generation who is known and sung not only in Hungary. His compositional technique is unmistakably individual, characterised by a festoon of easily singable outer-inner voices that embrace one another, and a linear thinking deriving from Palestrina through Kodaly. Even as a young composer, he was active in the choral scene both in Hungary and internationally. He sensed the basic principles of singability and applied them consciously, and he spoke in a musical language comprehensible to singing communities. Imbued with the spirit of Kodaly, raised on Ferenc Farkas's excellent school, with experiencegained at masterclasses by Khachaturian and Petrassi, with his oeuvre he has significantly contributed to the flourishing of the Hungarian culture of vocal music, and to its success in Hungary and abroad.
SKU: BR.CHB-5370
ISBN 9790004413005. 7.5 x 10.5 inches. Latin.
In 1896, Sibelius wrote Hymn (Op. 21), also known by its initial words Natus in curas, for the unveiling of the sepulchral monument of Josef Pippingskold (1825-1892), professor of obstetrics at the Imperial Alexander University in Finland (presently the University of Helsinki). The Latin text for Hymn was written for the occasion by Fridolf Gustafsson (1853-1924), professor of Roman literature at the University. Sibelius worked as acting music teacher at the University at the time, and as part of his duties at the ceremony he conducted a small ensemble consisting of singers from the male choirs Akademiska Sangforeningen and Muntra Musikanter. According to the report in Hufvudstadsbladet on the following day, the simple unveiling ceremony was given a particularly impressive ending by a hymn composed for the ceremony by Jean Sibelius in an old Italian style. The work was included in a choral collection published in 1899, for which Sibelius made small revisions, mostly by interchanging the inner-voices in some passages and reworking the ending by extending the last phrase. This version was published in the Complete Edition on which the current practical edition is based.
SKU: HL.50606838
ISBN 9798350114614. UPC: 196288188773.
Lajos Bárdos (1899-1986), composer, musicologist, teacher, and choral conductor, laid down, together with Kodály, the foundations of 20th-century Hungarian choral music. Through his work as a conductor, he raised the standards of Hungarian choral singing to an international level in a few decades. His compositions were directed towards cultivating Hungarian choral life: they draw on Renaissance polyphony and Hungarian folk music, following Kodály and Bartók. His works, which are models of choral writing, deal sensitively with Hungarian prosody and radiate an inner harmony and vigor. A selection of his most popular choral works has been published with English texts by Gail Needleman in five volumes. Contents: 1. Márkus Miklós dr.: Campfire Song 2. Kerényi György dr.: Golden-Winged Angel 3. Dienes Valéria Dr.: Christmas Lullaby 4. Czikéné Lovich Ilona: Holy Christmas Night 5. Hey, Daddy Longlegs.
SKU: CL.LDP-7110-01
This gorgeous work chronicles the emotional connection between humans and other complex life; all of us threads in a great tapestry. The composer creates a colorful palette with lyrical melodies and many moving inner voices. An inspired work for concert band.
SKU: HL.370871
ISBN 9781705147443. UPC: 840126994773. 9.0x12.0 inches.
Kneeling Dance is based on a cyclic 24 chord progression which I have treated in various ways: shortening, extending, reversing, filtering and intensifying with added notes. To this I've added 2 freely-composed and independent bass parts, and a coda which explores several interlocking techniques. With the dense agglomeration of chords I hoped to build up a sustained resonance in the inner voices. The title has no particular significance. -Kevin Volans.
SKU: HL.50606506
ISBN 9781705190692. UPC: 196288126829.
To celebrate the 85th birthday of Arpad Balazs, a selection of his rich output of choral music has been published. Arpad Balazs is an outstanding artist of his generation who is known and sung not only in Hungary. His compositional technique is unmistakably individual, characterised by a festoon of easily singable outer-inner voices that embrace one another, and a linear thinking deriving from Palestrina through Kodaly. Even as a young composer, he was active in the choral scene both in Hungary and internationally. He sensed the basic principles of singability and applied them consciously, and he spoke in a musical language comprehensible to singing communities. Imbued with the spirit of Kodaly, raised on Ferenc Farkas's excellent school, with experience gained at masterclasses by Khachaturian and Petrassi, with his oeuvre he has significantly contributed to the flourishing of the Hungarian culture of vocal music, and to its success in Hungary and abroad.
SKU: FT.FM884
ISBN 9790570487837. 21 x 30 cm inches.
This quartet is an arrangement of Richard Strauss' string quartet; an early work (1881), but one that he thought enough of to have published with an official opus number. The String Quartet, not unlike the D Minor Symphony and Piano Sonata Op. 5 of the same period, reveals the young composer's devotion to the Viennese masters, and Haydn in particular. The piece is written in a standard four-movement form -- Allegro, Scherzo, Andante cantabile, and Finale: Allegro vivace -- with the outer movements bearing most of the compositional weight. Strauss uses sonata form in the first movement, and while the Quartet shows his early training in the Classical aesthetic, it is nonetheless a Straussian work in several respects: instrumental colour is granted particular importance, the texture is frequently light and contrapuntal, and the melodies are lively and lyrical. Moreover, the inner voices participate with uncharacteristic significance in the weaving of the work's contrapuntal textures. This is a full arrangement of the quartet, and as such the first and last movements in particular are lengthy and complex. The first flute carries a lot of the melodic passage work in the outer movements particularly, and will require strong technique and stamina to perform effectively. All parts participate in the contrapuntal nature of the music; the alto and bass flutes also have melodic solos particularly in the slow movement.
SKU: FJ.ST6464
UPC: 241444397312. English.
This treasured Baroque aria provides young string players with an opportunity to develop beautiful tone, vibrato and intonation in the key of B-flat. Solemn and stately, the melodic phrases are shared between the upper strings, while the cello and bass experience the responsibility of the basso continuo, making each note a pearl of musical beauty while setting the foundation for the harmonies in the inner voices.
About FJH Developing Strings
Slightly more advanced than Beginning Strings, this series begins to involve more position work and a slightly more complex rhythmic figures. Rehearsal piano is often provided. Ideal for middle school and smaller high school programs. Grade 2 - 2.5
SKU: KN.09834S
UPC: 822795098341.
Brahms wrote 21 Hungarian Dances for piano four-hands. Each one is highly individualistic and features slow and fast sections -- in this arrangement, D major is used in the slow opening and closing sections, while the fast middle section is in B minor. Violins have some limited divisi parts, and melodic material is given to the inner voices and cellos in the fast section. Duration 1:15. Available in SmartMusic.
