SKU: HL.14036309
SKU: HL.14036298
SKU: HL.14048303
8.0x12.0 inches.
Hugh Wood's Ithaka for Violin, Viola and Cello. Parts. Inspired by C. P. Cavafy's poem, this work was commissioned by the Florin Ensemble and generously supported by the Britten-Pears Foundation, the RVW Trust and the Swaledale Festival, which hosted the first performance at St. Andrew's Church, Grinton on 2nd June 2016. The performers were Charles Mutter (Violin), Alastair Scahill (Viola) and Catherine Rimer (Cello).
SKU: HL.14048304
8.0x11.75 inches. English.
Hugh Wood's Ithaka for Violin, Viola and Cello. Score. Inspired by C. P. Cavafy's poem, this work was commissioned by the Florin Ensemble and generously supported by the Britten-Pears Foundation, the RVW Trust and the Swaledale Festival, which hosted the first performance at St. Andrew's Church, Grinton on 2nd June 2016. The performers were Charles Mutter (Violin), Alastair Scahill (Viola) and Catherine Rimer (Cello).
SKU: SU.46200050
Clarinet, Violin & Piano Duration: 10' Composed: 2001 Published by: Verdehr Trio Every measure of Collage – 1912 is based on one or more snippets taken from one composition each by Béla Bartók, Irving Berlin, Claude Debussy, W.C. Handy, Charles Ives, Gustav Mahler, Maurice Ravel, Arnold Schoenberg, James Scott, Richard Strauss, Igor Stravinsky, and JoaquÃn Turina. The work is about 12 minutes long and consists of two parts that are performed without pause. Michigan State University Press.
SKU: TM.08951SET
Ed. by Woodhouse. P/C in set. Incl: Entree des Tziganes, Scene et Pas des Deux Pigeons, Theme et Variations.
SKU: TM.08952SET
No. 4: Divertissement, No. 5: Danse Hongroise, No. 6: Finale. P/C in set. Ed. By Woodhouse.
SKU: GI.G-10580
ISBN 9781622776375.
Contributors: Travis J. Cross (University of California–Los Angeles) • David J. Elliott (New York University) • Marissa Silverman (Montclair State University) • Jacob Wallace (South Dakota State University) • Randall Everett Allsup (Teachers College, Columbia University) • Cynthia Johnston Turner (Wilfrid Laurier University) • Carolyn Barber (University of Nebraska-Lincoln) • John Kratus (Independent Scholar) • Vincent C. Bates (Weber State University) • Thomas G. Warner, Jr. (North Carolina Agricultural and Technical State University) • Ben Hawkins (Transylvania University) • Thomas A. Regelski (SUNY Fredonia School of Music, Helsinki University of Finland) • Paul Woodford (Western University) • Charles Peltz (New England Conservatory of Music) In the wind band profession—as in every great discipline—it is critical to take stock in the big questions about where we are heading, and why, as we move through the twenty-first century. This thought-provoking book contains seven high-level exchanges between a leading wind band practitioner and a music education philosopher. Each section of The Future of the Wind Band grapples with the most profound issues facing the music education profession and the path of instrumental music education in our schools: Relevance: What relevance, if any, does the wind band have both to today’s students and to culture more broadly in the twenty-first century? What relevance does the band experience hold for students’ everyday life? Repertoire: What is the relationship between the repertoire performed by wind ensembles and the larger musical world? Pedagogy: What constitutes best practice in terms of musical pedagogy and rehearsal technique within the large-ensemble experience? Creativity: Can the wind band function as a vehicle for enhancing the individual creativity of its members? Economic Justice: How do issues of social class and the distribution of wealth relate to broader questions of social justice within the context of instrumental music education? Professional Ethics: What are the primary ethical responsibilities of the wind band conductor? Democratic Citizenship: What relationship, if any, can be drawn between membership in the wind band and citizen participation in democracy? Such exchanges can only strengthen our profession and pay rich dividends in our musical and educational work with the students we serve. Editor of this book, William (Bill) M. Perrine is Associate Professor of Music and Director of Instrumental Activities at Concordia University in Ann Arbor, Michigan, where he directs the wind ensemble, marching band, and community orchestra.
SKU: GI.G-10202
UPC: 785147020219. English.
Contains: His Name Should Be Praised, Worthy Is the Lamb, Great Is God in My Soul, Jesus, the Son of God, Thank God for the Blood, Precious Savior and Have You Learned the Precious Secret
SKU: CA.5031419
ISBN 9790007138295. Key: C major. Language: Latin.
Haydn's Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron Saint of bridges, Johannes Nepomuk (ca. 1340-1393, canonized in 1729). Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn's second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi (1776), the Nepomuk Mass does not employ vocal soloists. Score and parts available separately - see item CA.5031400.
SKU: CA.5031449
ISBN 9790007135379. Key: C major. Language: Latin.
Haydn's Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron Saint of bridges, Johannes Nepomuk (ca. 1340-1393, canonized in 1729). Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn's second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi (1776), the Nepomuk Mass does not employ vocal soloists. Score and part available separately - see item CA.5031400.
SKU: CA.5031413
ISBN 9790007223809. Key: C major. Language: Latin.
SKU: CA.5031412
ISBN 9790007223793. Key: C major. Language: Latin.
SKU: CA.5031405
ISBN 9790007107253. Key: C major. Language: Latin.
Haydn's Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron Saint of bridges, Johannes Nepomuk (ca. 1340-1393, canonized in 1729). Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn's second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi (1776), the Nepomuk Mass does not employ vocal soloists. Score available separately - see item CA.5031400.
SKU: CA.5031409
ISBN 9790007223779. Key: C major. Language: Latin.
SKU: CA.5031411
ISBN 9790007223786. Key: C major. Language: Latin.
