SKU: AP.49126
ISBN 9781470646424. UPC: 038081565286. English.
Impetus is an intense concert opener by composer Randall Standridge that begins with a bang before settling into a 3/4 groove. Melodic moments for all voices, colorful orchestration, and creative percussion writing combine make Impetus an entertaining selection that is sure to engage players and audiences alike. (2:20).
SKU: AP.49126S
ISBN 9781470646431. UPC: 038081565293. English.
SKU: SU.27040160
A lively concert piece for flute and piano, taking its impetus from the genre of the Classical sinfonia concertante, (a symphonic work that alternates between tutti and solo passages). The work is neo-tonal and is cast in a single-movement, modified sonata form. Flute & Piano Duration: 7' Composed: 2011 Published by: Hutter Music.
SKU: BT.WMP2112
ISBN 9789810884802.
T eachers' Choice, Selected Piano Repertory & Studies for Grades 4 & 5 is compiled to provide teachers and students with good options for the 2011-2012 ABRSM Piano examinations.
SKU: LO.99-1701L
UPC: 000308081244.
This festive Mark Hayes creation is the perfect concert opener or closer. It also works well in the midst of any worship or concert setting in which a joyous Christmas anthem is desired. The pulsating 6/8 meter, which begins and concludes the piece, provides impetus to the energetic and rhythmic vocal lines. The occasional meter changes, as well as the contrasting and lyric middle section, make this a fresh and powerful Christmas proclamation!
SKU: AP.12-0571571573
ISBN 9780571571574. English.
To What God Shall We Chant Our Songs of Battle? was commissioned by James O'Donnell and Westminster Abbey for a service of solemn commemoration on 4 August 2014 marking the centenary of the outbreak of the First World War. Stark and gritty yet always rooted in tonality, Matthews's expressive harmonies bring a potent immediacy to the bitter, disillusioned words of war poet Harold Monro and the two lyrical solos for soprano and tenor which set passages from the Book of Lamentations and St. Luke's Gospel. Beginning with a violent and impassioned energy, this anthem ultimately offers little consolation. In the words of James O'Donnell it leaves you standing on the edge of an abyss--its impetus petering out in a series of hushed, troubled questions.
SKU: HL.48025444
ISBN 9783793145806. UPC: 196288216421.
Hans Winterberg has only recently been rediscovered as one of the most important representatives of the Czech avant-garde of the first half of the 20th century. Performed but not published during his lifetime, his works were locked away after his death due to tragic circumstances and are now being published for the first time in a collaboration between the Exilarte Centre of the Vienna University of Music and Boosey and Hawkes. In contrast to his colleagues and friends Ullmann, Haas, Krása and Klein, Winterberg survived the Shoah through a series of miracles. As a student of Alexander Zemlinsky and Alois Hába, he is both a successor to Janácek and a member of the wider circle of the Second Viennese School. The Sonata for Violin and Piano, written and premièred in Prague in 1936, is one of the most important chamber music works of the pre-war period. It exhibits all the characteristics of Winterberg's personal style: a sensuality of sound grounded in French Impressionism with a simultaneous expressionist rigour of harmony, a small-scale motivic structure, a sophisticated play with polyrhythmic patterns and, especially in the last movement, a musical impetus borrowed from Czech folklore.
SKU: CF.CM9768
ISBN 9781491160343. UPC: 680160923298. Key: G major. English.
About the WorkThe text of this work is most often attributed to Ralph Waldo Emerson, although it doesn't mirror his style, and no research credits an essay, book or letter with its source. Other individuals are occasionally suggested as possible authors, but equally unsubstantiated. Even whether the textis a poem or a quote seems unclear. But there is one thing that is without question: that this beloved text has inspired countless people and contributed toward a view of the world through eyes of hope, resilience, courage, beauty, and joy. Music for this text flowed more easily than about any text I have ever set. It has an emotional connection that is mystical, and after I read it for the first time, I immediately sat down and wrote this work without stop.Rehearsal NotesIn many cases, art is more expressive and reaches a wider range of human emotions when multiple artistic fields are fused together. Such is the case with choral music: the intertwining of literature, music, and very often dance, visual arts, and more. The story in choral music is often quite specific, much like film scoring. At times, the music is the picture frame (score) around the picture (text), while at others the music is the leading dramatic/emotional impetus.In the present case (My Farewell Wish), the text is sincere, innocent, heartfelt, and earnest. By all accounts, the message is altruistic, expressing selfless desire for another's present/future happiness. Capturing this message has a strong reliance on the performers to not only carry the emotional intent of the moment (a phrase of text or a measure), but the the energy and continuance of the message throughout.The use of the [o] vowel functions almost as instrumental interludes or underpinning of strings. The conductor may use the [o] as indicated in the score, or a [u] vowel, a hum (with [o] as the vowel inside the mouth), or all three at different times for different reasons. In an acoustical performance (no mic), the soloist and the ensemble are a reflection of each other's natural sound. And, even gentle, warm solo voices should have no trouble projecting.Two final thoughts: 1) the obbligato or added voice or two on high passages (m. 66) or a single note (final chord) will be best delivered by lyrical, pure voices with demonstrated control; and 2) the metronome marking of 80 bpm (mm. 1–81) was strongly considered and should be followed.About the ComposerZ. Randall Stroope is an American composer and conductor. His composition teachers were Normand Lockwood and Cecil Effinger, both students of the Nadia Boulanger, the famous French teacher (and student of Gabriel FaureÌ). Randall is the artistic director of two international summer music festivals, is an Honorary Board Member of the NationalAssociation of Italian Choral Directors, and has conducted in 25 countries. He has directed over 40 times at Carnegie Hall, and is a frequent conductor at other prestigious concert venues. Randall has 190 published works, and his music can be heard on Spotify, YouTube and other platforms, including his website (www.zrstroope.com).
SKU: BT.EMBZ14485
English-Hungarian.
In view of its arrangement Serenade, written for horn and chamber orchestra of fourteen instruments, may be regarded as a chamber concert. The one-movement piece written on command of horn player László Rákos is at the same time related to the notturno music of the 18th-19th centuries. It is a character piece in which a subdued, subtle irony makes itself felt alongside the characteristically night-time atmosphere. The solo role of the horn is obvious throughout, though the initial impetus is not sustained, and in the course of the movement the instrument falls silent. The instruments of the accompanying group join in with the horn in three ways: the clarinet, the English horn,the bassoon, the viola, the violoncello play the melodies of the horn, delicately repeating them, supplementing them or slowing them down, the flute, the violin, the trumpet and the double bass counterpoint the horn?s solos or hold dialogues with it, the third group ? the harp, the guitar, the vibraphone, the cimbalom and the piano ? plays soft, veiled, evenly progressing harmonies. In the last section of the piece, when the first and second group of instruments are no longer playing, these veiled sounds hold together, their rhythm gradually breaks up - the sound environment is reduced, progressively emptied. World premi?re: June 2, 1993, Budapest, László Rákos - horn, Componensemble, cond. Zsolt Serei.
SKU: BT.WMP2111
ISBN 9789810884796. English.
Contains alternative examination pieces for 2011-2012. Based on the graded Piano examinations syllabi of the Associated Board of the Royal School of Music.Teachers' Choice, Selected Piano Repertory & Studies for Grades1, 2 & 3 is compiled to provide teachers and students with good options for the 2011-2012 ABRSM Piano examinations.
SKU: PR.416411770
UPC: 680160091508.
I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.
SKU: M2.MOS-10015-10
ISBN 9790203735694.
Ein Stuck fur ein Orgelwerk in einer Uhr lautet eine undatierte handschriftliche Eintragung Mozarts (zwischen Dezember 1790 und 5. Januar 1791) in sein Verzeichnuss aller meiner Werke, etwas spater finden wir unter dem 3. Marz 1791 Ein OrgelStucke fur eine Uhr. Gemeint sind die beiden ublicherweise als Fantasie bezeichneten Werke in f-Moll, KV 594 und KV 608, die Mozart mit grosser Wahrscheinlichkeit fur eine mit einem Uhrwerk verbundene mechanische Orgel - also einen Orgel-Automaten - im Mausoleum Laudons der Mullerschen Kunstgalerie geschrieben hat. Wer unter diesen so harmlos wirkenden Titeln eine ebenso harmlose, hubsche und unterhaltende Musik erwartet, wird schon durch die Tonart der beiden in Mozarts letztem Lebensjahr entstandenen Musiken uberrascht sein - vielmehr noch durch ihre konzentrierte Form und Ausdruckstiefe. Stucke fur ein mechanisches Orgelwerk zu schreiben war durchaus eine Aufgabe, der sich viele der grossen Meister des 18. Jahrhunderts unterzogen. Wir haben kostliche Miniaturen fur eine Flotenuhr von Handel, Haydn, Beethoven u.a., die heute in der Regel auf einer Orgel wiedergegeben werden. Umso verwunderlicher ist es, dass Mozart mit diesen beiden Kompositionen eine ganz andere Musik geschaffen hat: gross dimensioniert schon in der Ausdehnung, die der Lange eines Sinfoniesatzes entspricht, erst recht aber in ihrer inhaltlichen Ausarbeitung! Vom dusteren Adagio am Beginn der Fantasie KV 594 uber das triumphierend auffahrende Allegro bis zum ersterbenden Ende wird der Horer gleichermassen wie in der entgegengesetzt aufgebauten Fantasie KV 608 von dem mit dramatisch-heroischem Impetus anpackenden Themenkopf uber das durch 2 Fugen von allerhochster Meisterschaft umrahmten innig beruhrenden Andante bis zum letzten Ton in Atem gehalten. War es die vermutete Bestimmung der Kompositionen als Trauermusik oder Mozarts Beschaftigung mit Handel und Bach, die so ungewohnlich ergreifende Musik entstehen liess? Unuberhorbar ist jedenfalls ihre Nahe zu seinen letzten grossen Kirchenmusiken, der Messe c-Moll und dem Requiem! Wolfgang Helbich in seinem Vorwort zu den beiden Fantasien fur eine Uhr.
SKU: AP.6-493717
ISBN 9780486493718. English.
A monument in the history of Western music, The Well-Tempered Clavier represents not only the culmination of J. S. Bach's own maturation process but also the impetus for the emerging style and structure of modern keyboard music. Mozart, Beethoven, and Chopin were influenced by its polyphonic richness and depth of harmony, and Schumann counseled young musicians to make The Well-Tempered Clavier your daily bread. Modern pianists can follow Schumann's advice with this new edition of an authoritative and long-out-of-print score that offers illuminating perspectives from a pair of eminent musical interpreters. Book 1 of this two-volume set features Sir Donald Francis Tovey's analyses of 24 preludes and fugues, including suggestions for performance. In addition to commentaries by Tovey, a lauded Bach scholar and world-famous musicologist, the pieces are complemented by fingerings devised by Harold Samuel, a major Bach interpreter. Students, teachers, and professionals will appreciate this finely engraved and modestly priced version of Bach's enduring works.
SKU: AP.36-60710008
ISBN 9798888522028. UPC: 676737624248. English.
Ralph Vaughan Williams, ever fond of poetry, found creative impetus for his beautiful romance The Lark Ascending, IRV 39, in an 1881 poem by George Meredith. Marie Pauline Hall, to whom the work was dedicated, gave the first performance of the original violin and piano version, here presented in a Masters reprint edition, at Shirehampton Public Hall on December 15, 1920, beside pianist Geoffrey Mendham. After World War I, the composer expanded the work for soloist and full orchestra. This has become the version most familiar to listeners. The violin, lifting its silvery tones above the stage, captures the soaring nature of Meredith's couplet: Till lost on his aerial rings/In light, and then the fancy sings. Reprint edition.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: BP.2278
Dramatic alleluias and an assertive rhythmic impetus interwoven with quotes of Beethoven's Hymn to Joy continually combine with Crown Him with Many Crowns (DIADEMATA), building to an overwhelming scene of worship of the risen Savior, perfect for Easter morning or general worship. Congregation may join in singing first and last stanzas, or all stanzas, for even greater impact.Scored for SATB with piano (in choral score) and/or organ (separate part available), with optional brass sextet/percussion or full orchestra.
SKU: BO.B.3340
ISBN 9788480207591.
Engl ish comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The authorComentari os del Espanol:A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.
SKU: HL.50511776
ISBN 9790080144855. K/4 quer (31 x 23,5 cm) inches. Hungarian, English. Zsolt Serei.
In view of its arrangement Serenade, written for horn and chamber orchestra of fourteen instruments, may be regarded as a chamber concert. The one-movement piece written on command of horn player Laszlo Rakos is at the same time related to the notturno music of the 18th-19th centuries. It is a character piece in which a subdued, subtle irony makes itself felt alongside the characteristically night-time atmosphere. The solo role of the horn is obvious throughout, though the initial impetus is not sustained, and in the course of the movement the instrument falls silent. The instruments of the accompanying group join in with the horn in three ways: the clarinet, the English horn, the bassoon, the viola, the violoncello play the melodies of the horn, delicately repeating them, supplementing them or slowing them down, the flute, the violin, the trumpet and the double bass counterpoint the horn?s solos or hold dialogues with it, the third group ? the harp, the guitar, the vibraphone, the cimbalom and the piano ? plays soft, veiled, evenly progressing harmonies. In the last section of the piece, when the first and second group of instruments are no longer playing, these veiled sounds hold together, their rhythm gradually breaks up - the sound environment is reduced, progressively emptied. World premi?re: June 2, 1993, Budapest, Laszlo Rakos - horn, Componensemble, cond. Zsolt Serei.
SKU: MN.50-0970
UPC: 688670509704. English.
A twentieth century hymn text about the new creation is set to the old American folk hymn SAMANTHA to produce this haunting Advent anthem. The piano accompaniment provides rhythmic impetus, and the choral writing is approachable and satisfying.
SKU: M2.MOS-10015
ISBN 9790203735687.