Format : Score and Parts
SKU: HL.284823
UPC: 888680867362. 5.0x5.0x0.2 inches. I Thessalonians 4:17, Luke 2:1-20, Matthew 2:1-12, Romans 6:8.
True choral textures populate this classic carol with beauty and the spirit of wonder. The time-honored text brings a hopeful message of Christmas joy to the sanctuary or concert gathering. At the optimal moment, a shimmering descant lifts the arrangement to new heights and sends spirits soaring. The arrangement can also be performed a cappella, giving directors many options for presentation. Score and Parts (fl 1-2, ob, cl 1-2, bn, vn 1-2, va, vc, db) available as a digital download.
SKU: HL.282475
ISBN 9781540034328. UPC: 888680789190. 9.0x12.0x0.847 inches.
Music is what helped many keep their spirits up during the Great Depression in the 1930s. Here are 100 of the most memorable songs of the decade presented in easy piano arrangements with lyrics. Songs include: As Time Goes By * Blue Moon * Body and Soul * Embraceable You * Georgia on My Mind * The Glory of Love * How Deep Is the Ocean (How High Is the Sky) * I Don't Know Why (I Just Do) * I Got Rhythm * I'll Be Seeing You * In the Mood * The Lady Is a Tramp * Love Is Here to Stay * Mood Indigo * My Funny Valentine * The Nearness of You * Over the Rainbow * Sing, Sing, Sing * Summertime * Thanks for the Memory * The Very Thought of You * The Way You Look Tonight * and more.
SKU: CN.06301
Evoking the sounds of the spirits, this piece utilizes many unconventional sounds to achieve the desired effects. (i.e. box filled with broken glass, heavy chain) A beautifully haunting piano solo emphasizes the spectral nature of the work.I. The Succubus: A demon of the night who masquerades as a seductive woman beguiling men in their sleep. II. The Poltergeist: A malevolent spirit whose hauntings are characterized by loud noises, strange lights, rapping sounds, shrieks, and moving objects.
SKU: CN.06300
SKU: CY.CC2834
Mussorgsky's iconic tone poem Night on Bald Mountain, completed by Rimsky-Korsakov, inspired by Russian folk literature and legend, conjures up spirits, witches, demons and monsters, but concludes with a happy sunrise ending.The composition was immortalized by Leopold Stokowski's arrangement of it in the 1940 Walt Disney film Fantasia.Elliot Chasanov has deftly scored the work for 9-part Brass Ensemble in an 8-minute arrangement for advanced performers.Instrumentation is for:Piccolo Trumpet in B-flat2 Trumpets in B-flatHorn3 TrombonesEuphonium and Tuba.
SKU: HF.FH-3325
ISBN 9790203433255. 8.3 x 11.7 inches.
1. Awakening; 2. Sago gatherers; 3. Evening storm; 4. Voices of inside night; 5. Night Spirits.
SKU: TM.06302SC
DON JUAN: Introduction; IPHIGENIE EN AULIDE: Air Gai, Lento; ORPHEUS: Dance of Blessed Spirits; ARMIDE: Musette - Gavotte, Sicilienne.
SKU: FP.FLJ14
ISBN 9790570503810.
For many years a professor at the Royal Academy of Music, Joan Last was widely admired for her skill and vast experience in the teaching of young beginners and adults alike. This album of superb pieces will appeal to all imaginative young pupils with its musical depictions of the scenes and spirits of the woodland.
SKU: FT.FM748
ISBN 9790570486472. 21 x 30 cm inches.
SKU: CF.YPS134F
ISBN 9780825896262. UPC: 798408096267. 9 x 12 inches.
This piece cooks up images of ghoulish things that go bump in the night. It is a serious piece, but one that can also be used for Halloween concerts. Bill Calhoun's compositions include rhythmic drive, interesting harmonic perspective, and quirky melodic figures.
SKU: CF.YPS134
ISBN 9780825895647. UPC: 798408095642. 9 x 12 inches. Key: Bb major.
SKU: TM.06302SET
SKU: GI.G-RA221
English. Text Source: a metrical version of Chapter II of the Actes of the Apostles, 1552. Text by John Austin.
Text Source: a metrical version of Chapter II of the Acts of the Apostles, 1552.
SKU: PR.44641256L
UPC: 680160596010. 11 x 17 inches. Key: A major.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall a each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall -- each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.Fanfare; Reminiscence and Celebration is in 2 movements.I. FanfareThe opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall — each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience.II. Reminiscence and CelebrationThe 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
SKU: PR.446412560
ISBN 9781598063738. UPC: 680160596003. 9x12 inches. Key: A major.
SKU: FG.55011-324-5
Canti Notturnali for cello and guitar has two movements played attacca, duration about 12-13 minutes. The harmonic and melodic material uses mainly the scale build from the open strings of both instruments. Because the guitar has an atypical scordatura (Eb,Ab,D,G,Bb,E) the scale is C,D,Eb,E,G,Ab,A,Bb. According to the composer, the inspiration for this piece came to him during his stay in Lapland. One can imagine, that in the first movement (Spettrale) one is wandering in Lapland during the Kaamos time (a Finnish word for the polar night). Surrounded by the blue twilight you are not anymore sure if all the disturbing noises are made by wind and nature . Or maybe the spirits are trying to scare you? The anticipation rises until the end of the I movement and discharges to the dance-like II movement (Notturnale). Now the spirits are dancing and singing together with the nature ,,a lullaby until the night and darkness comes.
SKU: BT.MUSM570367092
English.
Sadie Harrison 's Hantu for Double Bass and Piano. Composed 2013 and published 2016. Duration: 8 minutes. Hantu was written especially for Nick Lum as part of the first prize awarded for his performance in the Wells Double Bass Recital Competition in 2013. The title means ‘ghost’ in Malaysian (Lum is from Kuala Lumpar), with the piece taking its inspiration from the country’s annual Festival of the Hungry Ghosts. The Piano is transformed into a westernised gamelan orchestra with ‘gongs’, ‘kendang drums’, and ‘bamboo flutes’. The music is highly repetitive with rhythm and pitch cycles used toimitate the structure of much gamelan music. The piece is divided into three main sections. The first and last are dark and menacing, marked ‘a slow procession of spirits’. The central section, entitled ‘The ghost’s dance’ is a quirky, virtuosic interplay between pizz and arco, building to a wild crescendo before a return to the procession which gradually disappears into the night. The Double Bass is often used in its highest, lyrical register, singing out fragments from a Malaysian melody entitled Anak Indung. This tune is heard over the top of the procession music, an attempt to dispel the evil spirits through the beauty of song. The piece was kindly commissioned by The Friends of Music at Wells Cathedral School and given its first performance by Nick Lum and Gemma Beeson at Wells Cathedral School on 23 June 2013.
SKU: MN.12-128
UPC: 688670121289.
The three movements that make up Nocturnes, Book I are programmatic pieces that take as their points of departure a painting, the rhythms of a great city, and a poem. 1. The Starry Night is a written down improvisation based on Vincent van Goghs famous picture of the same name. The tonal material is a quite literal transformation of the visual elements of the painting: the melismatic cadenzas mirror van Goghs swirling starlight, and the powerful chords were suggested by the sinister trees that shoot upward to puncture the skys patterns. 2. Stovers Rag is a product of the ragtime revival of the early 1970s, when many composers tried their hand at writing concert rags. The New York night, which was not without its sinister element in those days, is expressed in an updating of the classic ragtime format. The piece looks backward as well, with the old French Baroque basse de trompette making an appearance in the trio section. 3. The Song of Shadows taps the nostalgic mood typical of the poetry of Walter de la Mare. The poem of the same name pictures a lone musician on a winter night, an dog sleeping before a sinking fire, and, at the end, the spirits that are summoned by music. The opening melody, played on an 8 flute with tremulant, suggests the blues-tinged sound of an alto saxophone, and throughout the movement the organs capacity for sustained tone is used to suggest and atmosphere of dreamy timelessness. The pieces were written in 1971 and first performed on July 2, 1972 at the National Shrine of the Immaculate Conception in Washington, DC, with the composer at the console.
SKU: BT.GOB-000854-020
The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights, so it was believed, evil spirits tried to ‘kill’ nature. Needle-leaved trees were the only ones which kept their green colour throughout the year, and therefore became symbols of immortality. These ‘living’ trees, said to be the work of benign spirits, were brought into people’s houses to ward off evil, life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom, originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles, such as apples and wafers, but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ’s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ‘O Tannenbaum’, the melody being a well-known folk song. Next to ‘Stille Nacht’ ‘O Tannenbaum’ is the most famous German Christmas song, now known throughout the world. In the United States of America the melody of ‘O Tannenbaum’ has even been used in four States (among which the State of Maryland) for their State song. In David Well’s arrangement the song is first heard as many of us know it. After this introduction, however, it is transformed into a solid rock version, and the beat has been changed. In the second part the familiar three-four time is back, but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner. De traditie van de ‘Kerstboom’ gaat in West-Europa terug tot ver voordat er van enige kerstening sprake was. Gedurende de koude strenge winters dacht men dat kwade geesten de natuur ‘vermoordde’. Naaldbomen behielden als enige hungroene kleur en werden daardoor symbolen van onsterflijkheid. Deze ‘levende’ bomen, het werk van goede machten, werden in huis gehaald om kwade geesten en levensbedreigende krachten buitenshuis te houden. Van ‘versierde’ kerstbomenwas het eerst sprake in de 14e eeuw. Het was een heidens gebruik, dat in deze periode in de Elzas voorkwam. Tijdens de 15e en 16e eeuw werd het versieren van de kerstboom door de kerk overgenomen. De versiering bestond in eersteinstantie vooral uit etenswaar, als appels en koekjes. Later ging men ook kleine cadeautjes als versiering gebruiken. Er wordt beweerd dat Martin Luther, de hervormer, als eerste kaarsen in een kerstboom deed. De fonkelendevlammetjes creëerden een sterrenhemel waarin men Christus’ verschijning leek te herkennen. De Duitse organist Ernst Anschütz uit Leipzig, was de eerste die het lied ‘O Tannenbaum’ op schrift stelde. De melodie was een bekend volkswijsje.Naast ‘Stille Nacht’ is ‘O Tannenbaum’ het meest bekende kerstlied dat vanuit Duitsland de hele wereld veroverde. De melodie van ‘O Tannenbaum’ wordt zelfs in de Verenigde Staten van Amerika in vier verschillende staten(o.a. Maryland) als volkslied gebruikt. In het arrangement van David Well hoort u het lied eerst op de manier zoals velen het kennen. Na deze inleiding klinkt een stevige rock-versie en is de maatsoort niet meer de gebruikelijke.Het tussendeel is weer in de vertrouwde driekwarts-maatsoort. Hier is echter de ritmiek in een ander jasje gestoken. Na de rijkelijk met slingers versierde rock-beat klinkt nog één keer het oorspronkelijke thema om daarna feestelijk.