SKU: CF.YAS176
ISBN 9781491146569. UPC: 680160904068. 9 x 12 inches. Key: G major.
This triumphant work by composer Alan Lee Silva will be a perfect selection for your next contest or festival performance. Atlantic Crossing contains all the signature flowing lines and warm harmonies that have made Silva's music so popular and fresh.A joyous journey across the ocean begins in the opening measures, featuring triumphant violins and violas and accented cellos and basses. After the celebratory introduction, Atlantic Crossing comes down in dynamics and transitions to the lyrical A melody in the violins (m. 9) and continues with an AAB form.The violas take over with the flowing B-theme in m. 17 as the rest of the ensemble accompanies the tune with lush harmonies at a lower dynamic. A two-measure build in mm. 24-25 with ascending violins leads back to a reprise of the powerful introductory statement where the ensemble plays full-out with precise articulations and accents. A two-measure interlude in mm. 34-35 slows the energy down to return to the legato A-theme in the violins and violas. Violas carry the B-theme once again in m. 44 with syncopated and accented answer motifs in the violins. The key center shifts at m. 53, and the violins play the melody in a legato interpretationof the introductory theme. The rest of the group plays their accompaniment figures smoothly and expressively underneath. After the molto ritardando at m. 61, the piece returns to the original key center of G. From there the group plays with driving energy as before in the introduction to the final punctuated note in m. 76.
About Carl Fischer Young String Orchestra Series
This 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
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
SKU: CF.FPS66
ISBN 9780825867712. UPC: 798408067717. 9 X 12 inches. Key: F major.
This triumphant work by composer Alan Lee Silva will be a perfect selection for your next contest or festival performance. Atlantic Crossing contains all the signature flowing lines and warm harmonies that have made Silva's music so popular and fresh. Silva takes a completely new approach to composing music for concert band, so we guarantee this is unlike anything you've ever heard before.
SKU: CF.FPS66F
ISBN 9780825867729. UPC: 798408067724. 9 X 12 inches. Key: F major.
SKU: CF.YAS176F
ISBN 9781491146910. UPC: 680160904419. 9 x 12 inches.
SKU: PR.114412650
UPC: 680160496044. 8.5 x 11 inches.
SKU: PR.11441265S
UPC: 680160534067.
SKU: FG.55011-372-5
ISBN 9790550113725.
Imag es of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
SKU: HL.295068
ISBN 9781540055200. UPC: 888680945091. 8.5x11.0x0.592 inches.
Your new official bebop bible! Over 200 classics arranged for Bb instruments in Real Book style. Titles include: Anthropology * Au Privave * Be-Bop * Boneology * Boplicity (Be Bop Lives) * Byrd Like * Cherokee (Indian Love Song) * Confirmation * Donna Lee * Doxy * Epistrophy * 52nd Street Theme * Four * Goin' to Minton's * Good Bait * Groovin' High * Hi-Fly * Hot House * In Walked Bud * Jay Bird * Lady Bird * Lennie's Pennies * Moose the Mooche * Move * Oblivion * Oleo * Parisian Thoroughfare * Rosetta * Salt Peanuts * Solar * Teaneck * Tin Tin Deo * Tour De Force * Tricrotism * Wail * Woodyn' You * Yardbird Suite * and more! Comb bound.
SKU: SU.05500020
Albany Records (TROY 1250) This recording is a symbol of cross-ocean friendship between composer Faye-Ellen Silverman and guitarist Volkmar Zimmermann and includes two pieces commissioned by Zimmermann and his Corona Guitar Kvartet. All the works feature guitar and range from works for solo guitar, guitar quartet and works for voice with guitar. Faye-Ellen Silverman studied at Barnard College, Harvard University and Columbia. She has received numerous commissions and awards and recordings of her music appear on the Albany, Capstone, Crystal and New World record labels. Her collaborator, German-born guitarist Volkmar Zimmerman studied at the Royal Danish Academy of Music. He has performed in Europe, Russia, the United States and in Canada as a soloist and as a member of the Corona Guitar Kvartet. A bonus video, playable on QuickTime is included. Titled SPOR, it is a film by Nike Arnold and Clara Bausch and uses the first track from the recording, Processional, as music. Contents: Faye-Ellen Silverman, composer Processional Volkmar Zimmermann, guitar Faye-Ellen Silverman, composer 3 Guitars Per Dybro Sorensen, Volkmar Zimmermann, Kristian Gantriss, guitars Faye-Ellen Silverman, composer In Shadow Malene Bichel, soprano, Maria Sook Garmark, clarinet, Mikkel Andersen, guitar Faye-Ellen Silverman, composer Wilde's World Jan Lund, tenor, Ninnie Isaksson, viola, Krisitian Gantriis, guitar Faye-Ellen Silverman, composer Danish Delights Sara Fiil, soprano, Volkmar Zimmermann, guitar Faye-Ellen Silverman, composer Pregnant Pauses Corona Guitar Kvartet.
SKU: CL.WFR306
An incredible set utilizing recordings from the 19 volume Gems Of The Concert Band LP record series. These famous recordings were remarkable for the superlative interpretations and masterful performances of Leonard B. Smith and the Detroit Concert Band. Digitally remastered with the clarity of the original performances restored. A top notch band which produced great music... these are fabulous recordings. - Robert Peckham, Windjammers Unlimited Volume 1 - Great Performances Introduction to Act III of Lohengrin; Marche Militaire Francaise; Espana Rhapsody; Shepherd's Hey; Excerpts from Andrea Chenier; Dance of the Tumblers from Snegourotchka; Flight of the Bumblebee; Theme and Variations from Suite No. III; Marche Hongroise Rakoczy; Rhapsodic Dance; Bamboula; Clear Track Polka; Polka and Fugue from Schwanda the Bagpipe Player; Excerpts from Manzoni Requiem Volume 2 - Magnificent Marches Americans We; Chicago Tribune; Mainliner; Music Festival; Official West Point March; Spirit of Independence; The Chimes of Liberty; Valdres; World Events; Barnum and Bailey's Favorite; American Patrol; Jurisprudence; Bombasto; Boston Commandery; March of the Toys; On Jersey Shore; Second Regiment - Connecticut National Guard; The Joker; The March King; Under the Double Eagle; Gate City; Lights Out; American Red Cross March; Entry of the Gladiators; National Emblem March; Volume 3 - Music of the Masters March and Procession of Bacchus fromSylvia; Bacchanale from Samson and Delilah; Italian Polka; Slavonic Dance No. 3; Farandole from L'Arlesienne Suite; Finlandia; Golliwog's Cake Walk; The Kaffir on the Karoo; Fugue a la Gigue; Symphony No. 4 (Finale); Two Norwegian Dances; Hungarian Dance No. 5; Ecossaises; Second Hungarian Rhapsody Volume 4 - Virtuoso Soloists Carnival of Venice; Fantastic Polka; Believe Me; If All Those Endearing Young Charms; Rigoletto: Bella figlia del amore; The Bugler; Through the Air; Bugler's Holiday; Blue Bells of Scotland; Columbian Fantasy; The Bride Elect: An Awkward Complication This; Wood Up Quickstep; The Three Solitaires; The Southern Cross; Bravura Variations; My Heaven of Love; Atlantic Zephyrs; Land of the Free; Sextet: Chi mi frena... Volume 5 - Legendary Overtures Zampa Overture; La Forza del Destino Overture; Light Cavalry Overture; Oberon Overture; Raymond Overture; Ruy Blas Overture; Egmont Overture; Roman Carnival Overture; William Tell Overture.
SKU: PR.11440986S
UPC: 680160014651.
Here I have adapted a standard musical form to a contemporary medium. The concertino is a small concerto: a one-movement work that draws upon the basic principles of the concerto form - two bodies of sound which at times compete, contrast, or act together. The piece explores the musical possibilities of Roto-toms. The sound of these drums is a cross between a tom-tom and a timpani, and their pitch is changed by rotating the drum. During the course of the work, the various effects used include pitch and fingernail glissandi; playing on the rims; and playing on the heads with fingers, brushes, timpani sticks, wood mallets or rattan. Harmonics on the octave and the fourth above the fundamental pitch are produced by the drums when weights (in this case, small pitched cymbales called crotales) are placed in the center of the drum heads. In return the drum itself acts a resonator for the crotales, which also have a fundamental pitch when played on the face and a partial a fifth above when played on the center dome. The opening section of the concertino introduces a motive, played by the soloist, while the ensemble sustains a bowed chord on the vibraphone. Following this cadenza-like introduction, the piece gradually moves into a bright 6/8 tempo that is characterized by constant sixteenth notes in all parts. After a brief period of interaction, the ensemble continues its sixteenth notes patterns and the soloist plays and improvised solo. Next, an interlude is presented by the ensemble which leads to a dramatic recapitulation by the soloist of the motivic material. A thematically-derived coda concludes the work. Encounters VI, commissioned by Remo Belli, is dedicated to Jennifer Kraft, the composer's daughter. The premiere performance took place in 1976 at the MENC National Convention in Atlantic City, New Jersey, and was performed by the Temple University Percussion Ensemble conducted by Glenn Steele. --William Kraft.
SKU: PR.114409860
UPC: 680160014644.
