SKU: HL.35031348
ISBN 9781495079696. UPC: 888680653392. 6.75x10.25 inches.
Written by Gerry Rafferty and Joe Egan for their band Stealers Wheel, this was a surprise hit for them in 1973. Since then, it has been covered by numerous singers and most recently as the theme song for “Grace and Frankie” a Netflix original comedy. This arrangement keeps that light folk feel with a more contemporary accompaniment and will be a sure-fire hit with mixed voices as well as women's and men's groups.
SKU: HL.48180543
UPC: 888680796044. 9x12 inches.
French composer and conductor, Henri Tomasi (1901-1971) published his Corsican Song for alto saxophone and piano in 1932. As with his other wind compositions, Corsican Song was well-received by audiences. Tomasi was born in Marseille, but his father and mother were originally from La Casinca in Corsica. Despite being pressured into musical studies by his parents, Tomasi dreamed of becoming a sailor, and during the summer, he stayed with his grandmother in Corsica where he learnt traditional Corsican songs. However, in 1921, he began his studies at the Paris Conservatoire and went on to become a high profile composer and conductor. Tomasi did not forget his Corsican routes, often incorporating themes of the songs he had learnt during the summers with his grandmother in to his compositions, as is the case with Corsican Song. This Tomasi work is unusual in composition through its exploitation of tonality, rhythm and structure amongst other aspects. However, this Tomasi piece, suitable for advanced saxophonists, provides an exciting, alternative addition to the repertoire.
SKU: BT.EMBZ14973
English-German-Hungarian.
The volume contains selected transcriptions from well-known sets that Bartók wrote for children and young people: For Children, Children's and Female Choruses, 44 Duos and Mikrokosmos. Some are based on folk melodies and some on original themes. The volume consists of 16 pieces. In nine, the bottom part is set for alto flute. The collections serve to draw music students into the realm of a great genius of 20th-century music, while concurrently introducing them to the basic techniques of playing chamber music.
SKU: HL.14042177
ISBN 9781780388700. 9.0x12.0x0.205 inches.
Collection of original works created as anonymous gifts for the renowned Finnish cellist Anssi Karttunen. Includes works by 31 composers, including: Pascal Dusapin, Magnus Lindberg, Kaija Saariaho, Esa-Pekka Salonen, Steven Stucky, Tan Dun, and others.
SKU: HL.48024364
UPC: 888680747909. 10.5x13.5x0.227 inches.
Originally composed to introduce the various instruments of the orchestra, Britten's “Young Person's Guide†follows a set of variations based on a melody by Henry Purcell. In this setting for wind band, Richard Saucedo presents the opening theme followed by Britten's exuberant fugue which culminates in a glorious finale and recap of Purcell's melody. A stunning work for mature ensembles. Dur. 4:40.
SKU: HL.4006658
UPC: 840126927054. 9.0x12.0x0.043 inches.
Composed by Edvard Grieg in 1875, music from Peer Gynt was originally incidental music for Henrik Ibsen's five-act play. The beautiful Solveig's Song is from the second orchestral suite later extracted by Grieg. Johnnie's tender setting opens with a lyric theme scored for the trumpet section. A brief andante section features the woodwinds before returning to the opening melody this time richly scored for full band. A beautiful work for teaching lyric style playing.
SKU: PR.16500104F
ISBN 9781491132159. UPC: 680160681082.
Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.
SKU: BR.CHB-5323-00
Choral music for all occasions in the original notational image, sorted by genres and themes
ISBN 9790004412534. 7.5 x 10.5 inches.
The Choir Library for Women's and Children's Choir invites browsing and discovering: Apart from Johannes Brahms, Robert Schumann and Franz Schubert, also lesser known composers like Arnold Mendelssohn, Hanns Eisler and Siegfried Strohbach are represented. The division into sacred and secular compositions as well as the sorting by genres and themes enable a fast locating and retrieving of the pieces. This also makes the usage of the volume by the whole choir a viable option in order to have a basic repertoire at hand. Last but not least, the small oeuvre for women's and children's choir can be purposefully complemented.We wish you lots of joy at discovering and singing!Sacred MusicI. Christmas Carols and MotetsII. Songs of PraiseIII. Psalm SettingsIV. Sacred Choral WorksV. Masses, Mass Sections and HymnsSecular MusicI. Love Songs and BalladsII. Nature and Evening SongsIII. Children's SongsIV. Parting Songs and Solemn PiecesV. Dance and Folk SongsChoral music for all occasions in the original notational image, sorted by genres and themes. Let yourself be inspired by more of our Choir Libraries as well.
SKU: FJ.OR5017
UPC: 241444415368. English.
Explore Middle Eastern sounds with this work that combines traditional folk songs with original music. After a haunting opening, authentic Middle Eastern percussion instruments create the groove that accompanies the folk song Ala Dal'ona. As the orchestration builds, original themes are juxtaposed with existing material before an extended percussion ensemble takes center stage. The final folk song, Tafta Hindi, ultimately morphs into an ostinato over a magnificent presentation of the original theme found throughout the work. A dynamic work for symphony orchestra!
SKU: BT.DHP-1196090-070
ISBN 9789043157674. English-German-French-Dutch.
Cinema has always aimed to do one thing above all else: arouse emotions. Yet however exciting, entertaining or fascinating a story might be, its full impact is really only felt with the help of the right music. While most original soundtracks demand a large orchestra, a much smaller ensemble is sufficient: Anthony Gröger has taken ten of the all-time most beautiful film scores and created stunning arrangements for string quartet. In keeping with the Pops for String Quartet series, this volume also includes an optional third violin part in case a viola is not available. This is an indispensable collection for any occasion!Van oudsher is de film bovenal bedoeld geweest om emotie op te roepen. Maar hoe spannend, vermakelijk of boeiend een verhaal ook is, pas met de ondersteuning van de juiste muziek komt het volledig tot zijn recht. Hoewel de meeste originele soundtracks een orkest met een grote bezetting vereisen, voldoet in dit geval een kleiner ensemble. Anthony Gröger heeft tien van de mooiste filmmuziektitels verzameld en er prachtige arrangementen voor strijkkwartet van gemaakt. Net als bij de andere uitgaven in de serie Pops for String Quartet bevat ook deze bundel een optionele derde vioolpartij, voor het geval er geen altviool beschikbaar is. Een fraaie collectie met nummers voordiverse gelegenheden! Seit jeher möchte Kino vor allem eines: Emotionen wecken. Doch wie spannend, lustig, interessant eine Story auch immer sein mag erst mit Hilfe der passenden Filmmusik kann sie ihre volle Wirkung entfalten. Während die meisten Soundtracks im Original ein groß besetztes Orchester erfordern, genügt hier bereits eine viel kleinere Besetzung: Anthony Gröger hat sich zehn der schönsten Filmmusik-Titel aller Zeiten vorgenommen und wirkungsvoll für Streichquartett bearbeitet. Eine unverzichtbare Sammlung für Anlässe jeder Art, bei denen ein Streichquartett gefragt ist. Wie in der Serie Pops for String Quartet üblich, enthält das Set auch eine optionale dritteViolinstimme für den Fall, dass keine Bratsche zur Verfügung steht. Le cinéma a toujours cherché, par-dessus tout, éveiller des émotions. Cependant, aussi passionnante, émouvante ou envo tante que soit une histoire, son impact n’est ressenti pleinement que si elle est accompagnée d’une musique appropriée. Bien que la plupart des bandes sonores exigent un grand orchestre, un ensemble beaucoup plus modeste suffit. Anthony Gröger a pris dix des plus belles musiques de films de tous les temps et produit de splendides arrangements pour quatuor cordes. Comme les autres volumes de la série Pops for String Quartet, le présent ouvrage comprend une troisième partie facultative pour violon au cas où un alto ne serait pas disponible. Voiciune collection indispensable pour toutes les occasions !