Format : Score
SKU: CF.PPS38F
ISBN 9781491144282. UPC: 680160901784.
Marches are part of the heritage of the American concert band, and even beginning students can benefit from early exposure to this style. Joseph Compello gives us a new march in traditional style for the youngest of players. Using only six notes and simple repeated eighth note patterns, this piece introduces students to all the fundamental elements of traditional marches.
SKU: BT.GOB-000589-140
Prague, also named ‘The Golden City’, has been the cultural and administrative capital city of the Czech Republic for thousands of years. The city is beautifully situated on the river Moldau. Every year millions of tourists visit Prague. It is one of the most popular cities of Eastern Europe. With it's mysterious little squares, dark alley ways and cobblestone streets, the ‘City of the 100 Towers’ is a unique mixture of architecture, dominated by monumental buildings, numerous churches and the oldest castle of Europe. The Bohemian capital city remains timeless. Visit the fort and be amazed at the lovely views over the Charles Bridge. Spend your time carefully browsing through the little stalls filled with paintings, photos, jewelery and hand-decorated products, accompanied by the sounds of the street musicians in the background. Notice the famous 15 th century astronomical clock that indicates the time every hour with a parade of the twelve apostles. When composing this piece, it was Jan Bosveld’s intention to depict the atmosphere of this metropolitan city with over one million inhabitants, rather than to create a fairly literal musical portrait. One of the many other names of Prague is ‘The City of the Clocks’. This can be heard throughout the piece depicted by the tubular bells. The piece consists of three movements (slow-fast-slow) and was written in a rhapsodic format. Jan Bosveld was commissioned to write ‘The Golden City’ by the Dutch Music Lend and Information Centre (MUI), a department of the library for the province of Gelderland in Arnhem, the Netherlands. Praag is één van de oudste metropolen van Europa. De bijnaam “de Gouden Stad” heeft het te danken aan de goudkleurige koepels op de honderden torens die de stad rijk is. Vanaf de hooggelegen, majestueuze burcht “Hradcany” heeftmen een prachtig uitzicht op het oude stadsgedeelte. Men ziet de brede, traag stromende Moldau met de vele bruggen waaronder de Karelsbrug met zijn gotische bogen. In het centrum is het een wirwar van kleine straatjes. De tram ishier het ideale vervoermiddel waarbij men steeds schijnt uit te komen op het grote Wenceslasplein. Hier is de invloed van het westen en de val van het ijzeren gordijn overduidelijk aanwezig in de vorm van schreeuwende lichtreclamesen trendy winkels. Ondanks deze invloeden en het massatoerisme heeft Praag haar authentieke sfeer voor het grootste deel weten te behouden. Een van de vele andere namen van Praag is 'De Stad van de Klokken'. Dit kanworden gehoord in heel het stuk, uitgebeeld door de buisklokken. Het stuk bestaat uit drie bewegingen (langzaam-snel-langzaam) en werd geschreven in een rhapsodisch formaat. In deze compositie geeft de componistde indrukken van een tweetal bezoeken aan Praag weer. Het is meer een sfeerbeeld van de stad en zijn bewoners dan een beschrijving van de belangrijkste bezienswaardigheden. Verplicht werk minirepertorium 2e divisieharmonie.
SKU: BT.GOB-000589-010
SKU: CF.PPS38
ISBN 9781491144275. UPC: 680160901777.
SKU: PR.11442399S
UPC: 680160689491.
MONUMENTS was commissioned by the Resonate project, a collaboration of the Detroit Chamber Winds & Strings, Bowling Green State University, the Carr Center, Michigan State University, Oberlin College Conservatory, the University of Michigan, and Western Michigan University.The trombone part was written for David Jackson, professor of trombone at the University of Michigan.The title occurred to me when a friend living in Philadelphia told me she had toured monuments in that city on Memorial Day, 2021. By that time I had already written what I call a “noble, lyrical melody†for trombone to serve as the main theme in the composition.MONUMENTS was finished on September 11, 2021. Other awesome monuments had been created on that date twenty years before.–Adolphus Hailstork.
SKU: PR.114423120
UPC: 680160689477.
SKU: CF.W2657
ISBN 9780825891120. UPC: 798408091125. 9 x 12 inches.
On May 29, 1913, an over-capacity audience in Paris’ Théâtre desChamps-Élysées witnessed an historical spectacle as they became a brutecatalyst in the most (in)famous opening night of the twentieth century.The Rite of Spring premiered that evening in the midst of a riot inspiredby the overwhelming primitivism both onstage and in the score.One-hundred plus years later, the music still incites the senses. The balletwas first published in 1914 in a reduction for two pianos, and serves asa basis for this arrangement. This edition is presented in honor of thecentennial of the ballet’s premiere, and is intended to give soloists andaccompanists a chance to perform this monumental work.On May 29, 1913, an over-capacity audience in Paris’ Théâtre des Champs-Élysées witnessedan historical spectacle as they became a brute catalyst in the most (in)famous opening nightof the twentieth century. The Rite of Spring premiered that evening in the midst of a riotinspired by the overwhelming primitivism both onstage and in the score. Subtitled “Picturesof Pagan Russia,†the ancient scenes were evoked using contemporary musical innovations,shattering expectations of a more traditional Ballet Russe production.How was an ancient ritual of sacrifice to the earth to be scored? The unevolved pesantecharacter of a village gathering was portrayed by odd time signatures and accents. Melodieswere geometrically woven as dissonant pastorales with grace-notes mimicking gutturalbreaks in primal voices. Instruments were orchestrated against the grain, straining soundsinto unrecognizable timbres. And just like the dancers on stage, musicians were organizedinto alternating groups often clashing with one another.One-hundred plus years later, the music still incites the senses. The ballet was first publishedin 1914 in a reduction for two pianos, and serves as a basis for this arrangement. This editionis presented in honor of the centennial of the ballet’s premiere, and is intended to give soloistsand accompanists a chance to perform this monumental work. Both movements may beplayed alone, and the first movement may also serve as a solo piece.
SKU: BT.GOB-000963-140
This composition was based on the world-famous novel by the French author Jules Verne. This novel describes the attempt to reach the centre of the earth. The descent of the crater of the volcano called Snaeffels, situated in Iceland, marks thebeginning of this voyage to the sublunary world. The German geologist, professor Lidenbrock, is accompanied on this trip by his nephew Axel and an Icelandic guide named Hans. The last mentioned will be helpful in many occasions. Dark colors & mist The composer tried in this single work to give a musical expression to various significant moments from this novel. In the introduction he sketches an image of the dismal ambience on the island by using dark colors. Risingfragments of mist reveal the flanks of the monumental mountain Scataris. The composer tries to catch this image in a majestic and broad chorale. Away from Iceland Subsequently the ostinato rhythmicity and virtuosity representthe hectic descent of the crater of the volcano. The party descends ever more and more and travels south, away from Iceland. On the way, they see all kinds of rock formations, fossils and minerals. At a depth of thirty hours walking distance, atabout 150 kilometers below the surface, they reach a sub terrestrial sea which is called the Lidenbrock sea. Genuine eruption of sounds Strange electric manifestations and unpredictable weather conditions accompany thissingular phenomenon. An orchestral tutti-episode expresses this impression musically. On a make-shift raft, the party continues its voyage, heading to the south coast of this huge sea. Once ashore, an enormous rock obstructs the passage. The blowingup of this obstacle unleashes a genuine eruption of sounds in the orchestration. Spat out by the volcano But the explosion has an unforeseen side effect. The sea - travelers and raft included - is sucked upwards into a dark hole.Again, our heroes are accompanied on their involuntary voyage, while left to fend for themselves, by an ever increasing ostinato rhythmicity. Before an irruption can destroy the raft, the threesome manages to escape and climb up through acave towards the daylight. They seem to be spat out by the Stromboli volcano on the island of Sicily, far from home. The composition ends with triumphant sounds that represent the scientific triumph of these adventurers.De compositie 'Voyage au centre de la terre ....' is gebaseerd op de wereldberoemde roman van de Franse schrijver Jules Verne. Het boek beschrijft de poging het middelpunt van de aarde te bereiken. Een afdaling van de op IJslandgesitueerde vulkaankrater 'de Sneffels', markeert het begin van deze reis in het ondermaanse. De Duitse geoloog professor Lidenbrock wordt hierbij vergezeld door zijn neefje Axel en een IJslandse gids genaamd Hans. Laatstgenoemdezal in menig netelige situatie nog van pas komen. De componist heeft getracht in dit eendelige werk een aantal significante momenten uit deze roman te verklanken. In de inleiding wordt door middel van donkere kleureneen beeld geschetst van de desolate sfeer op het eiland. Optrekkende flarden nevel onthullen de flanken van de monumentale berg 'de Scartaris'. De componist tracht dit beeld te vangen in een majestueus, breed opgezet koraal.Vervolgens staan ostinate ritmiek en virtuositeit voor de hectische afdaling in de vulkaankrater. De groep daalt dieper en dieper af, en reist daarbij zuidwaards, weg van IJsland. Onderweg komen ze allerlei rotsformaties,fossielen en mineralen tegen. Op een diepte van 'dertig uur gaans', op ca. 150 km. diepte, bereikt het gezelschap een onderaardse zee die 'de Lidenbrockzee' genoemd wordt. Vreemd aandoende electrische verschijnselen enonvoorspelbare weersomstandigheden vergezellen dit zonderlinge fenomeen. In een orkestrale tutti-episode wordt deze indruk verklankt. Op een provisorisch gebouwd vlot vervolgt het groepje hun reis, daarbij koersend naar dezuidkust van deze enorme zee. Eenmaal aan wal gekomen verspert een enorm rotsblok verdere doorgang. Het opblazen van dit obstakel ontketent een ware klankeruptie in het orkest. Echter, de ontploffing heeft een onvoorzien neveneffect.
SKU: BT.GOB-000963-010
SKU: GI.G-9739
ISBN 9781622773398. English.
The Renaissance era, lasting from the mid 1400s to about 1630, is one of the most distinctive and revolutionary periods in the arts, and music is no exception. Composers like Dufay, Josquin, Tallis, Victoria, Palestrina, Gabrieli, Praetorius, and Byrd were visionaries whose transformational music developed alongside the paintings and sculptures of Botticelli, da Vinci, Michelangelo, and Raphael. In this remarkable book, a companion to Performance Practices in the Classical Era and Performance Practices in the Baroque Era, noted scholar and conductor Dennis Shrock draws from primary sources to document and explain authentic performance practices of Renaissance era music—in many cases eye opening and rarely employed today. Insightful chapters cover topics including vocal and instrumental sound, tempo, articulation, phrasing, ornamentation, and expression. Like a restorer uncovering the original brilliance of the ceiling of the Sistine Chapel, Shrock’s work reveals the rich and colorful nature of this wonderful music as originally intended. Performing Renaissance Music—together with Shrock’s companion recording Renaissance Reborn—is an insightful, colorful, and comprehensive portrait, certain to assist anyone who seeks to better understand the music of the great Renaissance composers. This book is a vital resource for any conductor, performer, or aficionado of Renaissance music. Dennis Shrock is author of six books published by GIA: Performing Renaissance Music (2018), Performance Practices in the Baroque Era (2013), Performance Practices in the Classical Era (2011), Handel’s Messiah: A Performance Practice Handbook (2013), Music for Beginning Conductors (2011), and A Conductor’s Guide to Choral/Orchestral Repertoire, co-authored with James Moyer (2017). In addition, Dr. Shrock is author of three books published by Oxford University Press: Choral Repertoire (2009), Choral Scores (2015), and Choral Monuments (2017). Dr. Shrock has held faculty positions at Boston University, Westminster Choir College, the University of Oklahoma, and Texas Christian University, and has had residencies at Baylor University, the University of Southern California, the University of Mississippi, and Yale University. He has also served as Artistic Director of the Santa Fe Desert Chorale and Canterbury Choral Society of Oklahoma City, Interim Conductor of the Dallas Symphony Chorus, and Editor of The Choral Journal. In addition, he has been a frequent All-State conductor and lecturer at conferences of the American Choral Directors Association. He has received a number of awards and recognitions for his work. The City of Santa Fe declared December 22, 2003 “Dennis Shrock Day,†Westminster Choir College granted him an “Alumni Merit Award,†the state of Oklahoma conferred on him a citation for “Contributions of Excellence,†and the University of Oklahoma granted him two “Distinguished Lectureships†and named him a “Presidential Professor.†Dr. Shrock received a bachelor’s degree in music education from Westminster Choir College and both master’s and doctoral degrees in choral conducting from Indiana University. The cover artwork is a depiction of monks singing the office from a Gradual illuminated in the 1440s and used by the Olivetan Benedictines.
SKU: BT.DHP-1115071-050
9x12 inches. English-German-French-Dutch.
Le Lion de Belfort was composed for the official inauguration of the sculpture Le Lion de Belfort: an enormous red sandstone lion that dominates the landscape of the French city of Belfort. This 22 metre long and 11 metre high lion symbolises the heroic French resistance during the Prussian siege of Belfort in 1870-1871. The composer added a narrator and three-part choir to the concert band instrumentation, who utilise texts written specially for the occasion by Jean Ehret.The workâ??s première took place at the inauguration of Le Lion de Belfort on 28 November 2010, 130 years after sculptor Frédéric Auguste Bartholdi (1834-1904) completed the statue.Dit werk is geschreven voor de officiële inwijding van het beeldhouwwerk Le Lion de Belfort: een enorme uit rodezandsteen gebeeldhouwde leeuw die het gezicht van de Franse stad Belfort bepaalt. De 22 meter lange en 11 meterhoge leeuwsymboliseert het heldhaftige Franse verzet tijdens het beleg van Belfort door de Pruisen in 1870-1871. De componist voegde aan het harmonieorkest een verteller en driestemmig koor toe, waarbij hij gebruikmaakte van despeciaalvoor deze gelegenheid geschreven teksten van Jean Ehret.De première van de compositie vond - ter gelegenheid van die inwijding - plaats op 28 november 2010, maar liefst 130jaar nadat het standbeeld door de Franse beeldhouwer FrédéricAuguste Bartholdi (1834-1904) werd voltooid.Le Lion de Belfort (Der Löwe von Belfort) wurde fu?r die offizielle Einweihung der gleichnamigen Skulptur geschrieben: Diese ist ein riesiger Löwe aus Sandstein, der das Bild der französischen Stadt Belfort prägt. Der 22 Meter lange und 11 Meter hohe Löwe symbolisiert den heldenhaften Widerstand der Franzosen während der preuÃ?ischen Belagerung Belforts 1870-1871. Der Komponist ergänzte die Blasorchesterbesetzung um einen Erzähler und einen dreistimmigen Chor, die speziell fu?r diesen Anlass von Jean Ehret verfasste Texte vortragen.Die Premiere dieses Werke fand bei der Einweihung des Lion de Belfort am 28. November 2010 statt - 130 Jahre nachdem derBildhauer Frédéric Auguste Bartholdi (1834-1904) die Statue vollendet hatte. an de Haan a composé ce morceau pour lâ??inauguration officielle du Lion de Belfort, une sculpture monumentale en grès rose dominant la ville de Belfort (France). 22 m de long et 11 m de haut, ce lion symbolise la résistance héro que de la ville, assiégée par lâ??armée prussienne pendant la guerre de 1870-1871. Cette pièce est interpréter avec un Choeur mixte trois voix et un Récitant (Textes écrits spécialement par Jean Ehret).La première mondiale de lâ??oeuvre a eu lieu le 28 novembre 2010, dans le cadre de la cérémonie officielle inaugurant le Lion, cent trente ans après sa livraison par le sculpteur français, Frédéric Auguste Bartholdi (1834-1904).Le Lion de Belfort è un brano commissionato dallâ??Orchestra di Fiati della citt di Belfort in Francia. Jan de Haan ha composto questo brano per lâ??inaugurazione ufficiale del Leone di Belfort, una scultura monumentale in ceramica rosa che domina la citt . Questo brano può essere eseguito con coro misto a tre voci e una voce recitante (testi scritti da Jean Ehret).
SKU: BT.DHP-1115071-010
Le Lion de Belfort was composed for the official inauguration of the sculpture Le Lion de Belfort: an enormous red sandstone lion that dominates the landscape of the French city of Belfort. This 22 metre long and 11 metre high lion symbolises the heroic French resistance during the Prussian siege of Belfort in 1870-1871. The composer added a narrator and three-part choir to the concert band instrumentation, who utilise texts written specially for the occasion by Jean Ehret.The work’s première took place at the inauguration of Le Lion de Belfort on 28 November 2010, 130 years after sculptor Frédéric Auguste Bartholdi (1834-1904) completed the statue.Dit werk is geschreven voor de officiële inwijding van het beeldhouwwerk Le Lion de Belfort: een enorme uit rodezandsteen gebeeldhouwde leeuw die het gezicht van de Franse stad Belfort bepaalt. De 22 meter lange en 11 meterhoge leeuwsymboliseert het heldhaftige Franse verzet tijdens het beleg van Belfort door de Pruisen in 1870-1871. De componist voegde aan het harmonieorkest een verteller en driestemmig koor toe, waarbij hij gebruikmaakte van despeciaalvoor deze gelegenheid geschreven teksten van Jean Ehret.De première van de compositie vond - ter gelegenheid van die inwijding - plaats op 28 november 2010, maar liefst 130jaar nadat het standbeeld door de Franse beeldhouwer FrédéricAuguste Bartholdi (1834-1904) werd voltooid.Le Lion de Belfort (Der Löwe von Belfort) wurde für die offizielle Einweihung der gleichnamigen Skulptur geschrieben: Diese ist ein riesiger Löwe aus Sandstein, der das Bild der französischen Stadt Belfort prägt. Der 22 Meter lange und 11 Meter hohe Löwe symbolisiert den heldenhaften Widerstand der Franzosen während der preußischen Belagerung Belforts 1870-1871. Der Komponist ergänzte die Blasorchesterbesetzung um einen Erzähler und einen dreistimmigen Chor, die speziell für diesen Anlass von Jean Ehret verfasste Texte vortragen.Die Premiere dieses Werke fand bei der Einweihung des Lion de Belfort am 28. November 2010 statt - 130 Jahre nachdem derBildhauer Frédéric Auguste Bartholdi (1834-1904) die Statue vollendet hatte. Jan de Haan a composé ce morceau pour l’inauguration officielle du Lion de Belfort, une sculpture monumentale en grès rose dominant la ville de Belfort (France). 22 m de long et 11 m de haut, ce lion symbolise la résistance héro que de la ville, assiégée par l’armée prussienne pendant la guerre de 1870-1871. Cette pièce est interpréter avec un Choeur mixte trois voix et un Récitant (Textes écrits spécialement par Jean Ehret).La première mondiale de l’oeuvre a eu lieu le 28 novembre 2010, dans le cadre de la cérémonie officielle inaugurant le Lion, cent trente ans après sa livraison par le sculpteur français, Frédéric Auguste Bartholdi (1834-1904).Le Lion de Belfort è un brano commissionato dall’Orchestra di Fiati della citt di Belfort in Francia. Jan de Haan ha composto questo brano per l’inaugurazione ufficiale del Leone di Belfort, una scultura monumentale in ceramica rosa che domina la citt . Questo brano può essere eseguito con coro misto a tre voci e una voce recitante (testi scritti da Jean Ehret).
