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| Rise Again Songbook Lyrics and Chords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ryan's Mammoth Collection of Fiddle Tunes Violin [Sheet music] Mel Bay
Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Son...(+)
Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Landscapes Clarinet, Bassoon, Piano (trio) - Intermediate/advanced Imagine Music
By Daniel Baldwin. For clarinet, bassoon, horn, piano. Level 5. Duration 16 minu...(+)
By Daniel Baldwin. For clarinet, bassoon, horn, piano. Level 5. Duration 16 minutes. Published by Imagine Music
$30.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Great Smoky Mountains [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500102F Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F). ISBN 9781491131749. UPC: 680160680276. 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. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphony No. 6 [Score] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU: PR.16500104F Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (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. $90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Acadia [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500103F Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F). ISBN 9781491131763. UPC: 680160680290. 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. $39.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Everglades (River of Grass) [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500101F Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F). ISBN 9781491131725. UPC: 680160680252. 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. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Cuico Concert band [Score and Parts] - Intermediate C. Alan Publications
(Percussion Trio Feature). Composed by Gregory Danner. For Soloist(s) with Conce...(+)
(Percussion Trio Feature). Composed by Gregory Danner. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1/2, F Horn 3/). Band Music. Grade 4. Score and parts. Duration 14:50. Published by C. Alan Publications
$150.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Kunterbund Liederstrauss (kunterbund 10) Schott
(GEH) SKU: HL.49023844 Composed by Kunterbund. This edition: Saddle stitc...(+)
(GEH) SKU: HL.49023844 Composed by Kunterbund. This edition: Saddle stitching. Sheet music. Kunter-bund-edition. Melody line (with chords). 96 pages. Schott Music #BUND 71131. Published by Schott Music (HL.49023844). ISBN 9783795756703. 5.75x8.25x0.22 inches. German. Der Liederstrauss enthalt eine bunte Vielfalt von Liedern. Der zeitliche Rahmen umfasst Lieder aus der Zeit der Renaissance bis hin zu popularen Songs der vergangenen Jahre. Bei der Auswahl der Lieder stand die gute Singbarkeit im Vordergrund, daneben der Bekanntheitsgrad der Melodien und die Aktualitat der Liedertexte. Einen besonderen Schwerpunkt bilden Lieder aus Filmen und Musicals. Ein weiterer Bereich sind volkstumliche deutschsprachige Lieder und traditionelle Lieder aus anderen Landern. $14.99 - See more - Buy online | | |
| Cirque de L’étrange Concert band - Easy Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS200 Composed by Matthew R. Putnam....(+)
Band Concert Band - Grade 2 SKU: CF.YPS200 Composed by Matthew R. Putnam. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+2+2+5+2+2+4+4+6+3+3+2+1+3+16+4+4+2+2 pages. Duration 2:15. Carl Fischer Music #YPS200. Published by Carl Fischer Music (CF.YPS200). ISBN 9781491152201. UPC: 680160909704. Key: D minor. Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.†This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march. Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.†This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.†It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange! $70.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Cirque de L’étrange Concert band [Score] - Easy Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS200F Composed by Matthew R. Putnam...(+)
Band Concert Band - Grade 2 SKU: CF.YPS200F Composed by Matthew R. Putnam. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS200F. Published by Carl Fischer Music (CF.YPS200F). ISBN 9781491152881. UPC: 680160910380. Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.†This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march. Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.†This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.†It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange! $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sanctuary Piano Trio: piano, violin, cello Theodore Presser Co.
Chamber Music Violin, cello, Piano SKU: PR.114418250 Composed by Stacy Ga...(+)
Chamber Music Violin, cello, Piano SKU: PR.114418250 Composed by Stacy Garrop. Contemporary. Set of Score and Parts. With Standard notation. Composed 2013. 40+16+16 pages. Duration 23 minutes. Theodore Presser Company #114-41825. Published by Theodore Presser Company (PR.114418250). UPC: 680160640959. 9 x 12 inches. In 2011, Barbara Garrop, my mother, commissioned me to write a piano trio in memory of Norman Garrop, my father, who passed away about thirty years ago. When I started brainstorming about topics for the piece, I found it difficult to recall many moments of my early life involving my father. Too many years had passed, and the memories that I could summon were of achild looking up to her father, not an adult relating to an equal. However, while collecting stories of my father from various family members, along with discovering a number of objects that had once belonged to him and that I had stored away in boxes decades ago, I began to realize that this piece wasn't so much about my father as it was about my re-discovering the man that he was: a loving husband and dad who cared deeply about his family and his passions (which included bike riding, collecting coins, strumming our guitar, playing baseball, watching football games, entertaining people, helping to run local theater and puppet productions, and carving objects out of wook); an accountant who dreamed of a better future: a treasurer of our local synagogue; an early advocate for computers (we owned an Apple II+); and a pranster with a great sense of humor. Ultimately, I decided to musically tell the story of my search for these memories. In the first movement (Without), a child calls out in a sing-song voice, searching for her lost parent. This search intesifies over the course of the movement through a series of themes, including a stepping motif in which a two-note progression steadily climbs higher, a pseudo-jewish folksong, and a passionate longing theme. The child's search becomes increasingly intense throughout the movement, calling out fervently and repeatedly to the parent; the movement ends in a moment of great tnesion and uncertainty. The second movment (Within) quietly opens with the lost parent finally answering, represented by a solo cello; the child (now personified by the violin) has found the parent within the sanctuary of her own heart. This movement highlights the joy and solemnity of this beautiful discovery. -S.G. $43.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sanctuary Piano Trio: piano, violin, cello [Score] Theodore Presser Co.
Chamber Music Violin, cello, Piano SKU: PR.11441825S Composed by Stacy Ga...(+)
Chamber Music Violin, cello, Piano SKU: PR.11441825S Composed by Stacy Garrop. Contemporary. Score. With Standard notation. Composed 2013. 40 pages. Duration 23 minutes. Theodore Presser Company #114-41825S. Published by Theodore Presser Company (PR.11441825S). UPC: 680160643745. 9 x 12 inches. In 2011, Barbara Garrop, my mother, commissioned me to write a piano trio in memory of Norman Garrop, my father, who passed away about thirty years ago. When I started brainstorming about topics for the piece, I found it difficult to recall many moments of my early life involving my father. Too many years had passed, and the memories that I could summon were of achild looking up to her father, not an adult relating to an equal. However, while collecting stories of my father from various family members, along with discovering a number of objects that had once belonged to him and that I had stored away in boxes decades ago, I began to realize that this piece wasn't so much about my father as it was about my re-discovering the man that he was: a loving husband and dad who cared deeply about his family and his passions (which included bike riding, collecting coins, strumming our guitar, playing baseball, watching football games, entertaining people, helping to run local theater and puppet productions, and carving objects out of wook); an accountant who dreamed of a better future: a treasurer of our local synagogue; an early advocate for computers (we owned an Apple II+); and a pranster with a great sense of humor. Ultimately, I decided to musically tell the story of my search for these memories. In the first movement (Without), a child calls out in a sing-song voice, searching for her lost parent. This search intesifies over the course of the movement through a series of themes, including a stepping motif in which a two-note progression steadily climbs higher, a pseudo-jewish folksong, and a passionate longing theme. The child's search becomes increasingly intense throughout the movement, calling out fervently and repeatedly to the parent; the movement ends in a moment of great tnesion and uncertainty. The second movment (Within) quietly opens with the lost parent finally answering, represented by a solo cello; the child (now personified by the violin) has found the parent within the sanctuary of her own heart. This movement highlights the joy and solemnity of this beautiful discovery. -S.G. $31.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Catskill Mountain Waltzes and Airs Piano Trio: piano, violin, cello [Book] Mel Bay
By Jay Ungar and Molly Mason. For Cello, Piano, Violin, Fiddle, Classical Guitar...(+)
By Jay Ungar and Molly Mason. For Cello, Piano, Violin, Fiddle, Classical Guitar. Wire bound. Multiple Levels. Book. 82 pages. Published by Mel Bay Publications, Inc
$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Cleopatra Concert band [Score] - Easy De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216342-140 The Last Queen...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216342-140 The Last Queen of Egypt. Composed by Thierry Deleruyelle. Concert and Contest Collection CBHA. Concert Piece. Score Only. Composed 2021. 39 pages. De Haske Publications #DHP 1216342-140. Published by De Haske Publications (BT.DHP-1216342-140). English-German-French-Dutch. Queen Cleopatra ruled Egypt for over 20 years. She is one of antiquity’s best-known women, in particular because of her relationships with Julius Caesar and, above all, Mark-Anthony, but also because the cause of her death remainsa mystery. The work is split into three parts and performed without breaks. The first section begins with a bright introduction representing Mark-Anthony. Dynamic in nature and reminiscent of military music, this characterises theRoman general. But soon after, another theme emerges, softer and more melodic, symbolising Cleopatra’s femininity. The two characters then combine on a faster tempo. The middle section of the work depicts the love thatMark-Anthony and Cleopatra feel for each other. This passionate relationship lasted ten years and produced three children. This is expressed by a warm and intense theme, just like the beauty of the Egyptian queen. The third andlast section opens in a determined and military mood. Mark-Anthony and Cleopatra were often apart, the Roman general was often away on a campaign. They met up in Alexandria to celebrate their triumph. But, as the targets of thejealousy and ambition of Octavius, Julius Caesar’s son, the lovers are trapped and await the inevitable conquest of Egypt by the Romans. When Mark-Anthony heard the false news that Cleopatra had committed suicide, he ended his ownlife. The Queen of Egypt, for her part, was imprisoned shortly afterwards. The two lovers remain one of History’s most famous couples. This piece was commissioned by the Wind Orchestra of the town of Antony, near Paris, directedby Philippe Rossignol, to mark its 90th anniversary.
Koningin Cleopatra heerste meer dan twintig jaar lang over Egypte. Ze is een van de bekendste vrouwen uit de oudheid, vanwege haar relatie met Julius Caesar en vooral die met Marcus Antonius, maar ook omdat de oorzaak van haardood altijd een mysterie is gebleven. Dit werk bestaat uit drie in elkaar overlopende delen. Het eerste deel begint met de levendige introductie van Marcus Antonius. Met het dynamische en enigszins militaire karakter van de muziekwordt de Romeinse generaal krachtig neergezet. Snel daarna doemt een zachter en melodieuzer thema op een weerspiegeling van Cleopatra’s vrouwelijkheid. De twee persoonlijkheden gaan vervolgens samen verder in een vlotter tempo.Het middelste deel beschrijft de liefde die Marcus Antonius en Cleopatra voor elkaar voelden. Hun hartstochtelijke relatie duurde tien jaar en bracht drie kinderen voort. Dit wordt uitgedrukt in een warm en intens thema waarintevens de schoonheid van de Egyptische koningin doorschemert. Het derde en laatste deel opent vastberaden en in militaire sfeer. Marcus Antonius en Cleopatra waren vaak bij elkaar vandaan: de generaal was geregeld weg om strijd tevoeren. In Alexandrië vierden ze samen hun triomf, maar de jaloezie en ambitie van Octavius, de zoon van Julius Caesar, gooide roet in het eten. De geliefden werden in de val gelokt en de onvermijdelijke verovering van Egypte doorde Romeinen volgde al snel. Toen Marcus Antonius het onjuiste bericht kreeg dat Cleopatra zelfmoord had gepleegd, maakte hij een eind aan zijn eigen leven: de koningin van Egypte werd op haar beurt kort daarna gevangengezet. Detwee geliefden behoren tot de beroemdste stellen uit de wereldgeschiedenis. Cleopatra werd in opdracht geschreven om het negentigjarig bestaan van het blaasorkest uit de gemeente Antony dicht bij Parijs te markeren. Dat orkestbracht het onder leiding van Philippe Rossignol in première.
Königin Kleopatra regierte über 20 Jahre lang Ägypten. Sie ist eine der bekanntesten Frauen der Antike, insbesondere aufgrund ihrer Beziehungen zu Julius Cäsar und vor allem zu Marcus Antonius aber auch aufgrund ihrerrätselhaften Todesursache. Das Werk besteht aus drei Abschnitten, die ohne Unterbrechung gespielt werden. Der erste Abschnitt beginnt mit einer strahlenden Einleitung, die Marcus Antonius darstellt. Die martialische und dynamischeMusik beschreibt den römischen Feldherrn. Doch bald darauf erklingt ein neues Thema, das sanfter und melodischer ist und Kleopatras Weiblichkeit symbolisiert. Die beiden Charaktere verschmelzen schließlich in einem schnellerenTempo. Der Mittelteil des Werkes beschreibt die Liebe, die Marcus Antonius und Kleopatra füreinander empfinden. Die leidenschaftliche Beziehung der beiden dauerte zehn Jahre lang und aus ihr gingen drei Kinder hervor. Dafür stehtein warmes und intensives Thema, das auch die Schönheit der ägyptischen Königin beschreibt. Der dritte und letzte Abschnitt beginnt mit einer entschlossenen und kriegerischen Stimmung. Marcus Antonius und Kleopatra waren oftmalsgetrennt, wenn sich der römische Feldherr auf Feldzügen befand. In Alexandria trafen sie sich, um ihren Sieg zu feiern. Doch sie waren Opfer der Eifersucht und der ehrgeizigen Ambitionen von Octavius, Julius Cäsars Sohn, wurden ineine Falle gelockt und mussten auf die bevorstehende Eroberung Ägyptens durch die Römer warten. Als Marcus Antonius die Nachricht vom vermeintlichen Selbstmord Kleopatras erhielt, nahm er sich selbst das Leben. Die Königin vonÄgypten wurde ihrerseits kurz darauf inhaftiert. Die beiden zählen zu den berühmtesten Liebespaaren der Geschichte. Dieses Stück wurde vom Orchestre d’Harmonie de la Ville d’Antony aus der Nähe von Paris, das von PhilippeRossignol geleitet wird, anlässlich seines 90-jährigen Jubiläums in Auftrag gegeben.
La Reine Cléop tre règne sur l’Égypte pendant plus de 20 ans. Elle est l’une des femmes les plus connues de l’Antiquité, notamment gr ce ses relations avec Jules César et surtout avec Marc-Antoine (Antony), mais aussi par lemystère qu’entoure sa disparition. L’œuvre est écrite en trois parties enchaînées. La première commence par une brillante introduction qui représente Marc-Antoine. A la fois martiale et dynamique, cette musique caractérise legénéral romain. Mais très vite, un nouveau thème apparaît, plus mélodique et plus doux, il symbolise la féminité que représente Cléop tre. Les deux caractères vont ensuite s’assembler dans un tempo plus rapide. La partie centralede l’œuvre dépeint l’amour que Marc-Antoine et Cléop tre ressentent l’un pour l’autre. Cette relation passionnée durera 10 ans et donnera naissance 3 enfants. Il en résulte un thème chaleureux et intense, l’image de la beautéde la reine d’Égypte. Enfin, c’est sur un caractère décidé et guerrier que la troisième partie débute. Marc-Antoine et Cléop tre sont souvent séparés, le général romain est souvent en campagne. Ils se retrouvent Alexandrie pourfêter leur triomphe. Mais, victimes de la jalousie et de l’ambition terrifiante d’Octave, fils de Jules César, les amants sont piégés et attendent inexorablement que l’Égypte soit conquise par les Romains. A la fausse annonce dusuicide de Cléop tre, Marc-Antoine met fin ses jours. La Reine d’Egypte sera quant elle emprisonnée peu de temps après. Les deux amants resteront l’un des couples les plus célèbres de l’Histoire. L’œuvre a été commandée parl’Orchestre d’Harmonie de la ville d’Antony l’occasion de ses 90 ans : l’orchestre est placé sous la direction de Philippe Rossignol. $31.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Cleopatra Concert band [Score and Parts] - Easy De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216342-010 The Last Queen...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216342-010 The Last Queen of Egypt. Composed by Thierry Deleruyelle. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2021. De Haske Publications #DHP 1216342-010. Published by De Haske Publications (BT.DHP-1216342-010). English-German-French-Dutch. Queen Cleopatra ruled Egypt for over 20 years. She is one of antiquity’s best-known women, in particular because of her relationships with Julius Caesar and, above all, Mark-Anthony, but also because the cause of her death remainsa mystery. The work is split into three parts and performed without breaks. The first section begins with a bright introduction representing Mark-Anthony. Dynamic in nature and reminiscent of military music, this characterises theRoman general. But soon after, another theme emerges, softer and more melodic, symbolising Cleopatra’s femininity. The two characters then combine on a faster tempo. The middle section of the work depicts the love thatMark-Anthony and Cleopatra feel for each other. This passionate relationship lasted ten years and produced three children. This is expressed by a warm and intense theme, just like the beauty of the Egyptian queen. The third andlast section opens in a determined and military mood. Mark-Anthony and Cleopatra were often apart, the Roman general was often away on a campaign. They met up in Alexandria to celebrate their triumph. But, as the targets of thejealousy and ambition of Octavius, Julius Caesar’s son, the lovers are trapped and await the inevitable conquest of Egypt by the Romans. When Mark-Anthony heard the false news that Cleopatra had committed suicide, he ended his ownlife. The Queen of Egypt, for her part, was imprisoned shortly afterwards. The two lovers remain one of History’s most famous couples. This piece was commissioned by the Wind Orchestra of the town of Antony, near Paris, directedby Philippe Rossignol, to mark its 90th anniversary.
Koningin Cleopatra heerste meer dan twintig jaar lang over Egypte. Ze is een van de bekendste vrouwen uit de oudheid, vanwege haar relatie met Julius Caesar en vooral die met Marcus Antonius, maar ook omdat de oorzaak van haardood altijd een mysterie is gebleven. Dit werk bestaat uit drie in elkaar overlopende delen. Het eerste deel begint met de levendige introductie van Marcus Antonius. Met het dynamische en enigszins militaire karakter van de muziekwordt de Romeinse generaal krachtig neergezet. Snel daarna doemt een zachter en melodieuzer thema op een weerspiegeling van Cleopatra’s vrouwelijkheid. De twee persoonlijkheden gaan vervolgens samen verder in een vlotter tempo.Het middelste deel beschrijft de liefde die Marcus Antonius en Cleopatra voor elkaar voelden. Hun hartstochtelijke relatie duurde tien jaar en bracht drie kinderen voort. Dit wordt uitgedrukt in een warm en intens thema waarintevens de schoonheid van de Egyptische koningin doorschemert. Het derde en laatste deel opent vastberaden en in militaire sfeer. Marcus Antonius en Cleopatra waren vaak bij elkaar vandaan: de generaal was geregeld weg om strijd tevoeren. In Alexandrië vierden ze samen hun triomf, maar de jaloezie en ambitie van Octavius, de zoon van Julius Caesar, gooide roet in het eten. De geliefden werden in de val gelokt en de onvermijdelijke verovering van Egypte doorde Romeinen volgde al snel. Toen Marcus Antonius het onjuiste bericht kreeg dat Cleopatra zelfmoord had gepleegd, maakte hij een eind aan zijn eigen leven: de koningin van Egypte werd op haar beurt kort daarna gevangengezet. Detwee geliefden behoren tot de beroemdste stellen uit de wereldgeschiedenis. Cleopatra werd in opdracht geschreven om het negentigjarig bestaan van het blaasorkest uit de gemeente Antony dicht bij Parijs te markeren. Dat orkestbracht het onder leiding van Philippe Rossignol in première.
Königin Kleopatra regierte über 20 Jahre lang Ägypten. Sie ist eine der bekanntesten Frauen der Antike, insbesondere aufgrund ihrer Beziehungen zu Julius Cäsar und vor allem zu Marcus Antonius aber auch aufgrund ihrerrätselhaften Todesursache. Das Werk besteht aus drei Abschnitten, die ohne Unterbrechung gespielt werden. Der erste Abschnitt beginnt mit einer strahlenden Einleitung, die Marcus Antonius darstellt. Die martialische und dynamischeMusik beschreibt den römischen Feldherrn. Doch bald darauf erklingt ein neues Thema, das sanfter und melodischer ist und Kleopatras Weiblichkeit symbolisiert. Die beiden Charaktere verschmelzen schließlich in einem schnellerenTempo. Der Mittelteil des Werkes beschreibt die Liebe, die Marcus Antonius und Kleopatra füreinander empfinden. Die leidenschaftliche Beziehung der beiden dauerte zehn Jahre lang und aus ihr gingen drei Kinder hervor. Dafür stehtein warmes und intensives Thema, das auch die Schönheit der ägyptischen Königin beschreibt. Der dritte und letzte Abschnitt beginnt mit einer entschlossenen und kriegerischen Stimmung. Marcus Antonius und Kleopatra waren oftmalsgetrennt, wenn sich der römische Feldherr auf Feldzügen befand. In Alexandria trafen sie sich, um ihren Sieg zu feiern. Doch sie waren Opfer der Eifersucht und der ehrgeizigen Ambitionen von Octavius, Julius Cäsars Sohn, wurden ineine Falle gelockt und mussten auf die bevorstehende Eroberung Ägyptens durch die Römer warten. Als Marcus Antonius die Nachricht vom vermeintlichen Selbstmord Kleopatras erhielt, nahm er sich selbst das Leben. Die Königin vonÄgypten wurde ihrerseits kurz darauf inhaftiert. Die beiden zählen zu den berühmtesten Liebespaaren der Geschichte. Dieses Stück wurde vom Orchestre d’Harmonie de la Ville d’Antony aus der Nähe von Paris, das von PhilippeRossignol geleitet wird, anlässlich seines 90-jährigen Jubiläums in Auftrag gegeben.
La Reine Cléop tre règne sur l’Égypte pendant plus de 20 ans. Elle est l’une des femmes les plus connues de l’Antiquité, notamment gr ce ses relations avec Jules César et surtout avec Marc-Antoine (Antony), mais aussi par lemystère qu’entoure sa disparition. L’œuvre est écrite en trois parties enchaînées. La première commence par une brillante introduction qui représente Marc-Antoine. A la fois martiale et dynamique, cette musique caractérise legénéral romain. Mais très vite, un nouveau thème apparaît, plus mélodique et plus doux, il symbolise la féminité que représente Cléop tre. Les deux caractères vont ensuite s’assembler dans un tempo plus rapide. La partie centralede l’œuvre dépeint l’amour que Marc-Antoine et Cléop tre ressentent l’un pour l’autre. Cette relation passionnée durera 10 ans et donnera naissance 3 enfants. Il en résulte un thème chaleureux et intense, l’image de la beautéde la reine d’Égypte. Enfin, c’est sur un caractère décidé et guerrier que la troisième partie débute. Marc-Antoine et Cléop tre sont souvent séparés, le général romain est souvent en campagne. Ils se retrouvent Alexandrie pourfêter leur triomphe. Mais, victimes de la jalousie et de l’ambition terrifiante d’Octave, fils de Jules César, les amants sont piégés et attendent inexorablement que l’Égypte soit conquise par les Romains. A la fausse annonce dusuicide de Cléop tre, Marc-Antoine met fin ses jours. La Reine d’Egypte sera quant elle emprisonnée peu de temps après. Les deux amants resteront l’un des couples les plus célèbres de l’Histoire. L’œuvre a été commandée parl’Orchestre d’Harmonie de la ville d’Antony l’occasion de ses 90 ans : l’orchestre est placé sous la direction de Philippe Rossignol. $176.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 30 Jazz Piano Classics Piano Trio: mixed chamber instrumentation - Advanced Alfred Publishing
(pending). For Piano. Book; Piano Collection. Jazz. Advanced. 100 pages. Publish...(+)
(pending). For Piano. Book; Piano Collection. Jazz. Advanced. 100 pages. Published by Alfred Music Publishing
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Great Popular Instrumental Solos Flute Alfred Publishing
Flute SKU: AP.IF9827CD Flute. Arranged by Various. Instrumental Se...(+)
Flute SKU: AP.IF9827CD Flute. Arranged by Various. Instrumental Series. Book and CD. 24 pages. Alfred Music #00-IF9827CD. Published by Alfred Music (AP.IF9827CD). ISBN 9780769263083. UPC: 029156921854. English. These 15 new arrangements can be played alone, or as duets or trios in any instrumental combination. Titles include: My Heart Will Go On (Love Theme from Titanic) * All My Life * How Do I Live? * Foolish Games * Time to Say Goodbye * Pink Panther * Over the Rainbow * The Wind Beneath My Wings * Kiss from a Rose * Valentine * Linus & Lucy * Un-break My Heart * Karen's Theme * Star Wars. $10.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Voyages Extraordinaires [Score] Wilhelm Hansen
Score SKU: HL.50603530 For Orchestra Score. Composed by Britta Bys...(+)
Score SKU: HL.50603530 For Orchestra Score. Composed by Britta Byströ and m. Score. Softcover. Edition Wilhelm Hansen #WH33249. Published by Edition Wilhelm Hansen (HL.50603530). UPC: 840126931136. A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio, 'Diagonal Musik' (2017), inspired by the Swedish artist Olle Baertling. Baertling's paintings consist of large, bright triangular shapes, and although the lines gradually approach one another, the intersecting point is often placed outside the frame. Consequently, the spectator will try to complete the angle in their own head. In my horn trio, I wanted to transfer this to music: the lines that gradually approach each other but rarely meet, except perhaps in the listener's head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further, this time for orchestral forces, and combine them with the magical transformations, an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden musical transformations that occur are also reminiscent of dream logic and the dreamscape itself. Here it is possible to wander in and out through worlds in a way that feels consistent within the framework of the dream.. $67.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Trio [Score and Parts] Theodore Presser Co.
Chamber Music Flute, Horn, Piano SKU: PR.114424380 Composed by Eric Ewaze...(+)
Chamber Music Flute, Horn, Piano SKU: PR.114424380 Composed by Eric Ewazen. Sws. Score and parts. Theodore Presser Company #114-42438. Published by Theodore Presser Company (PR.114424380). ISBN 9781491138076. UPC: 680160693467. 18 x 12 inches. If you love playing Eric Ewazen’s flute sonatas or horn chamber music, or if you are fan of Brahms’s chamber music, then this exhilarating work is for you! Among Ewazen’s most performed works, the TRIO, inspired by the Brahms horn trio and originally for Violin, Horn, and Piano, has been adapted by the composer for Flute, Horn, and Piano. With a rollicking scherzo and beautiful melodic movements, this 21-minute work is a joy to play and to listen to. I’ve always been fascinated and inspired by chamber works offering several instrumental versions of the same piece, resulting in a new feel and color. One famous example is the great Franck Sonata, originally for violin and piano, and beautifully arranged for flute and piano by Jean-PIerre Rampal. Subsequently other versions of the piece were created for an array of instruments: cello, oboe, clarinet, saxophone, and even tuba! Creating this flute version of my TRIO (flute replacing the original violin part), considered the range, allowing the flute to sometimes sing in a bright, higher register than the original violin part; passages where there were double stops in the violin now have arpeggiated figurations. The original scoring for Horn, Violin, and Piano was commissioned by and gratefully dedicated to Chamberosity, representing an homage to one of my favorite chamber pieces of all time, the Trio for Horn, Violin, and Piano by Brahms. Having both performed (on piano) and analyzed that work, I so loved Brahms’ wonderful weaving of the colors of the instruments, creating an almost orchestral color palette. For years I wanted to write a trio for the same combination, and when my friends in Chamberosity were enthusiastic about me writing that piece for them, I was delighted. The four movements are modeled after the Brahms, with a slow-fast-slow-fast scheme to the entire work. A gentle, somewhat mysterious first movement accumulates depth and momentum as it proceeds, only to return to the gentle world of the opening. The second movement is a rip-roaring scherzo, a true energetic dance with melodies tossed back and forth from the violin to the horn, while the piano provides a resonant accompaniment, inserting its own lively melodies as counterpoint to the violin and horn. The third movement is filled with melancholy, with long lyric melodies appearing sometimes as solos, sometimes as duets, and sometimes as a chorale with all three instruments singing their soulful songs. The final movement, following an austere, dramatic introduction, turns into a grand fugue, with a jumping fugue theme full of life and excitement, culminating in the themes heard in augmentation, strong and bold. $34.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| One For Helen Big band [Score and Parts] - Advanced Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score and parts. Published by Jazz Lines Publications
$50.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Jazz Piano Trios Minus You
Piano solo [Sheet music + Audio access] Music Minus One
Deluxe 2-CD Set. Composed by Jim Odrich. Edited by Jim Odrich. Sheet music with ...(+)
Deluxe 2-CD Set. Composed by Jim Odrich. Edited by Jim Odrich. Sheet music with CD. Music Minus One. Jazz. Softcover Audio Online. 88 pages. Music Minus One #MMO6009. Published by Music Minus One
(1)$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Trio [Score and Parts] Subito Music
Flute, Violin & Violoncello SKU: SU.29120060 For Flute, Violin & Violo...(+)
Flute, Violin & Violoncello SKU: SU.29120060 For Flute, Violin & Violoncello. Composed by Todd Mason. Chamber Music, Mixed Ensemble, Woodwinds, Flute/Piccolo. Score & Parts. Subito Music Corporation #29120060. Published by Subito Music Corporation (SU.29120060). Comments from the composer: The 1st movement of my Trio, Allegro vivo. opens with a strong tutti rhythmic figure that repeats often throughout the movement. It’s followed by a syncopated ‘fuguelet’ that also repeats in many different ways throughout with lots of chromatic shifting. After a brief slow variation, the opening material returns with more power to end the movement. This 2nd Mov movement, Andante, opens into a wintery landscape with just the cello introducing the main theme, then the violin enters followed by the flute. The feeling of an arctic landscape gives way to the joyful warmth of summer, then the cycle repeats but with a climax of a thunderstorm finally ending with the silence of winter, once again. After the solitude and winter reflections of the longer slow movement, comes this energetic and warm response, Presto, with reassuring harmonies, a fast pace with lots of notes and perhaps a hint of a Latin American celebration of life! Trio (Youtube): Flute, Violin & Violoncello Duration: 17' Composed: 2020 Published by: Todd Mason. $45.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Marc Blitzstein Songbook - Volume 3 Piano, Voice [Sheet music] Boosey and Hawkes
Voice and Piano. By Marc Blitzstein. Boosey and Hawkes Voice. Book only. Size 9x...(+)
Voice and Piano. By Marc Blitzstein. Boosey and Hawkes Voice. Book only. Size 9x12 inches. 170 pages. Published by Boosey and Hawkes.
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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| Little Black Book Aussie Français Lyrics and Chords [Sheet music] - Intermediate ID Music
Non, pas depuis la publication de The Great Songbook australien y a-t-il eu un l...(+)
Non, pas depuis la publication de The Great Songbook australien y a-t-il eu un livre de mammouth compilation de chansons Aussie. Cette collection caractéristiques 200 rock australien classics et contemporains chansons australiennes, dont beaucoup n'ont pas paru dans imprimer avant ! Toutes les chansons ont été organisées dans la clé originale de réels succès enregistrements. Complet avec paroles complètes, symboles de la guitare et graphique d'arrachement chord. Petit et facile pour l'adapter à votre cas de guitare, la couverture de vinyle noir durable signifie vous utiliserez ce livre pendant de nombreuses années. / Chant Et Guitare / 288 pages / Partition
20.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Pepin Camille -
Nighthawks - Harpe Jobert
Creation 04/11/2018 - Cologne (Germany), Philharmonie - Anaïs Gaudemard (har...(+)
Creation 04/11/2018 - Cologne (Germany), Philharmonie - Anaïs Gaudemard (harp) Sponsor Calouste Gulbenkian Foundation and Philharmonie de Paris Dedication to Anaïs Gaudemard Notice Nighthawks is a work for solo harp. When Anaïs Gaudemard [1] asked me to write this work, she wanted to integrate it into a program on the theme of birds. I immediately thought of the work Nighthawks (1942) - or Night Birds - by the American realist painter Edward Hopper (1882-1967). Inspired by this work, I designed the piece in one piece as a trip to the heart of this painting. Hopper projects there a snapshot of American daily life. The scene takes place at a late hour of the night and several atmospheres emerge from it. Indeed, the eye is at the same time attracted by this dark, deserted, and immaculate street of an American downtown; intrigued by the frozen situation of the four characters inside a brightly colored diner; and hypnotized by the glare of the huge bar window. Contrasting with the darkness of the street, the light from this neon-lit window is striking. It thus separates the two atmospheres of the painting. The view of the spectator through it is from outside to inside the bar. The absence of an exit door gives the impression that the characters are isolated and their solitude is further reinforced by this glass which surrounds the illuminated stage - as if they were under a bell . Inside the diner, a man seen from behind is eating; a couple stand side by side (the man smokes; the woman is dressed in red); a server is busy. We don't know anything about them. What are they doing at such a late hour? Where is the exit? What are they discussing? Do they know each other? I wanted to musically conceive this scene from the viewer's point of view, as if we were caught up, sucked into the very interior of the painting. The introduction - Mysterious, dark - sounds the twelve strokes of midnight and plunges us into the darkness of this typically American street. From this nocturnal atmosphere is born a strange song - almost padded with xylophonic sounds - as if we could not hear it distinctly through the luminous glass which separates the street and the bar. Caught up in this bright light, we pass through the window and gradually return inside the diner by means of a hypnotic loop repeated tirelessly, as if we were entering a state of trance - Hypnotic. It is the underlying tension of this frozen situation of the characters that I wanted to represent in the central passage - Rhythmic and pulsed. Then, we come out of this feeling of hypnosis by passing through the bar window again and rediscover the nocturnal atmosphere of this deserted and immaculate street - Hypnotic - Mysterious. Camille Pepin [1] Creator and dedicatee of the piece Hurry What a simply beautiful work here! Camille Pépin, born in 1990, had a career marked by dance and composition. But we discover here quite simply an artist, who invites us to the contemplation of a work of the painter Edward Hopper. Having worked on composition and orchestration with Thierry Perrine as well as with Thierry Escaich, Guillaume Connesson and Marc-André Dalbavie, she has forged an original language which allows her here to bewitch us both by her music and by contemplation of the painting. We can judge by the interpretation of this piece on YouTube that we will listen to while looking at the painting. Of course, you can also listen to the work as it is: it is sufficient. But with the painting ... Daniel blackstone Music Education n ° 128 (Jan-Feb 2020)
17.90 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| Britta Byström: Voyages
Extraordinaires:
Orchestra: Score Wilhelm Hansen
A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer...(+)
A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes 'I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio 'Diagonal Musik' (2017) inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large brighttriangular shapes and although the lines gradually approach one another the intersecting point is often placed outside the frame. Consequently the spectator will try to complete the angle in their own head. In my horn trio I wanted to transfer this to music: the lines that gradually approach each other but rarely meet except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further this time for orchestral forces and combine them with the magical transformations an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden musical transformations that occur are also reminiscent of dream logic and the dreamscape itself. Here it is possible to wander in and out through worlds in a way that feels consistent within the framework of the dream.' A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes 'I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio 'Diagonal Musik' (2017) inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large brighttriangular shapes and although the lines gradually approach one another the intersecting point is often placed outside the frame. Consequently the spectator will try to complete the angle in their own head. In my horn trio I wanted to transfer this to music: the lines that gradually approach each other but rarely meet except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further this time for orchestral forces and combine them with the magical transformations an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden
49.99 GBP - Sold by Musicroom UK | |
| Barrientos C. - Mambo
For Mo - Guitare Guitar Classical guitar Editions Orphee
The composer says: Several musical threads led to my writing this piece of musi...(+)
The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.
8.00 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| John Harle: Arcadia:
Piano Trio: Score and
Parts VLN/SSAX/PFC::Violin/Soprano
Saxophone/Piano Chamber [Sheet music]
Arcadia is a work for Violin Soprano Saxophone and Piano inspired by the paint...(+)
Arcadia is a work for Violin Soprano Saxophone and Piano inspired by the painting 'Pastoral for E.W.' by John Craxton. As a painter John was sometimes dubbed a 'neo-Romantic' but much preferred the term'Arcadian' - hence the title of the piece. Pastoral for E.W. was painted in 1948 in St John's Wood after one of John's early trips to the island of Crete and is a homage to Peter Watson (co-founder of the magazine 'Horizon' andthe Institute of Contemporary Arts) who was one of John's early mentors.In a letter in 1986 John recounted that: '‘Pastoral for P.W.’: was a celebration of the power of music. My sister (the distinguished oboist JanetCraxton) was learning the oboe on the same floor at the time and the house was full of her scales and exercises coupled with my discovery that goats which seem to be daemonic willful and undisciplined are held in thrall by thesound of a flute - or have I gone a step further and frozen them into my geometry with a paint brush? I suppose the flautist was in origin myself but a very emblematic me!' Ian Collins in his book 'John Craxton' (2011Lund Humphries) says of Pastoral for E.W.: 'A pipe-player and a herd of goats are held in a rugged grid of semi-cubist triangles. While references to Dionysus and Orpheus may be noted it is essentially a fanfare for the ongoinglife light and landscape of Greece'. The music of Arcadia is also Grecian in inspiration. The traditional folk melodies Skaros Epirotikos Vari Pogonisio Ouzak To Tragoudhi Tis Xentias and Pentozalis - Pentozalis arepresent in Arcadia after I researched the type of music that John would have heard in Crete in the late 1940's. In a letter of 3rd May 1984 John said that he was also listening to Stravinsky's Symphony in 3 Movements 'over andover again at the same time when I first started the painting' and aspects of the beginning of the last section of Arcadia (Allegro Moderato) pay homage to the Stravinsky in an attempt to create something of the aural landscape
29.99 GBP - Sold by Musicroom UK | |
| Cheryl Frances-Hoad: The
Forgiveness Machine:
Piano Trio: Score and
Parts Piano Trio: piano, violin, cello Cadenza Music
Cheryl Frances-Hoad's The Forgiveness Machine for Piano Cello and Violin. 'The ...(+)
Cheryl Frances-Hoad's The Forgiveness Machine for Piano Cello and Violin. 'The Forgiveness Machine was commissioned by the Phoenix Piano Trio as part of their Beyond Beethoven Project. My work is very closely modeled on the second movement of Beethoven’s Archduke Trio and comprises a set of loosely structured variations many of which are motivically very similar to Beethoven's. This work is dedicated to the memory of my grandmother Christina Hoad. I received this commission in the last months of her life and would often sit in the room listening to the Archduke on my headphones while she rested. Beethoven’s music to me atthat time had an almost transcendental quality to it temporarily permitting an escape from the reality and inevitability of my Nan’s illness. It was this quality of serenity beauty and dignity that I tried to emulate in my work. The title is taken from an art work by Karen Green: the Forgiveness Machine was made after the death of her husband David Foster Wallace and encourages members of the public to write down on a piece of paper what they want to forgive/be forgiven for before feeding it to the machine which sucks up the piece of paper and shreds it (the artwork is some seven foot long). Whilst in my case there is nothing to forgive it was the feeling of catharsis that many people reported after interaction with this artwork that struck a chord with me and had tremendous relevance to this work.' - Cheryl Frances-Hoad
13.99 GBP - Sold by Musicroom UK | |
| Herb Ellis: Detour Ahead:
An Afternoon With Herb
Ellis: Guitar:
Instrumental Guitar [DVD] Grossman's Guitar Workshop
Taking its title from Herb Ellis’ most famous composition Detour Ahead c...(+)
Taking its title from Herb Ellis’ most famous composition Detour Ahead chronicles the life and music of the famed jazz guitarist. From his birth in Farmersville Texas and his early days playing rhythm in the big bands of Jimmy Dorsey and Glen Gray to his innovative work with groups like the Soft Winds Detour Ahead covers every major step of the guitarist’s life. Much attention is given to his groundbreaking work with the Oscar Peterson Trio of the 1950s his days with Ella Fitzgerald his work with the Great Guitars and his many friends in jazz. On-camera interviews include Ray Brown Charlie Byrd Benny Golson Benny Green Al Grey Lionel Hampton Gene Harris Jon Hendricks and Hank Jones. Along with modern interviews Detour Ahead features never-before-seen home movies from jazz’s golden age of Herb on tour with Dizzy Gillespie Ella Fitzgerald and others. Complete musical tunes from various live and studio venues include The Days of Wine and Roses Sweet Georgia Brown Body and Soul Georgia On My Mind Danny Boy John Brown’s Body and Wave. Sidemen include guitarists Charlie Byrd Tal Farlow Terry Holmes; bassmen Norm Cochran and Jack Hannah drummers Tommy Perkins and Ernie Durawa and pianist Sonny Gray.
19.95 GBP - Sold by Musicroom UK | |
| Ed Hughes: A Time For
Singing: Piano Trio:
Score and Parts CLT/VLC/PFC::Clarinette, Violoncelle,
Piano De Chambre [Partitions] University Of York Music Press
Ed Hughes' A Time For Singing for Clarinet Cello and Piano. Score and parts.'My...(+)
Ed Hughes' A Time For Singing for Clarinet Cello and Piano. Score and parts.'My sister the clarinettist Alison Hughes is a member of the Camilleri Trio who gave the first performance. The work was conceived in memory of our aunt Gillian Nicholls.The four movements are:1. Walk with rainstorm2. Song3. Scherzo4. Until the day breakIt is a kind of narrative - in one sense an imagined walk through a changing landscape. A very English one in other words one in which it rains! But sometimes lit up by sunshine.It remembers Gillie Nicholls who loved walking and loved life. She died from cancer in2010. I wanted to write a piece that would remember her and her wonderful enthusiasm and sense of humour as well as forming a more traditional lament. So there are elements of each in this piece.Gillie was also a profoundly spiritual person. When she and John Muddiman married in 2010 they asked me to write a short song for the wedding 'Rise Up My Love' using words from 'Song of Solomon'.The new work for the Camilleri Trio commissioned by Jennifer Hughes in memory of her sister Gillian Nicholls also refers in the main title and in the last movement title to lines from 'Song of Solomon':the time of the singing of birds is come - Song of Solomon 2:12Until the day break and the shadows flee away - Song of Solomon 2:17A Time for Singing was written for the Camilleri Trio - Alison Hughes (clarinet/bass clarinet) Anja Inge (cello) Joanne Camilleri (piano). It was first performed by them at Mansfield Chapel Mansfield College Oxford on 30 October 2011.' - Ed Hughes
22.95 GBP - Sold by Musicroom UK | |
| Frédéric Chopin: Piano
Trio In G Minor Opus 8:
Piano Trio: Instrumental
Album
Piano Trio: piano, violin, cello - Advanced G. Henle
Piano Trio in g minor op. 8-Fr?d?ric Chopin composed his piano trio when he was ...(+)
Piano Trio in g minor op. 8-Fr?d?ric Chopin composed his piano trio when he was an 18-year-old student. About the performance of the trio on 31 August 1830 he wrote: ???On Sunday we rehearsed the trio. Perhaps because I haven???t heard it for awhile I was very happy with myself (fortunate man!).??? Incidentally Robert Schumann also shared this opinion writing in a review: ???Is it not as noble as possible more full of enthusiasm than any song ever written by apoet original in the smallest detail as in the whole every note music and life'??? We agree with this verdict and recommend this trio in our new Urtext edition to all lovers of highly romantic chamber music.
33.75 GBP - Sold by Musicroom UK | |
| Violin Ensemble Pieces -
Silver: Violin Ensemble:
Instrumental Album Violin ensemble - Easy ABRSM Publishing
Music Medals Violin Ensemble Pieces are five volumes of enjoyable and accessible...(+)
Music Medals Violin Ensemble Pieces are five volumes of enjoyable and accessible repertoire for the developing ensemble progressively graded Copper Bronze Silver Gold and Platinum. They contain original pieces and imaginative arrangements for duets trios and quartets.
8.95 GBP - Sold by Musicroom UK | |
| Contemporary Piano
Masters for Easy Piano:
Piano: Instrumental Album
Piano solo - Easy Hal Leonard
This exceptional collection draws upon works from 20 of the world?s greatest pia...(+)
This exceptional collection draws upon works from 20 of the world?s greatest piano composers. These pieces have been specially arranged for easy piano, giving the beginner-intermediate level pianist engaging and inspiring pieces to enjoy.
Includes beautiful pieces by Ludovico Einaudi, Yiruma, Dustin O?Halloran, Joe Hisaishi, Yann Tiersen and may more!
17.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Winds of Worship: Flute:
Instrumental Album Flute Shawnee Press
Flute-This uniquely flexible collection works great for solos duets trios qua...(+)
Flute-This uniquely flexible collection works great for solos duets trios quartets quintets sextets and more! Each arrangement can be performed unaccompanied or accompanied using the fully orchestrated StudioTrax CD or pianoaccompaniment book. Mix and match instrumentation according to your needs in any given situation all year long in a variety of settings: worship services Sunday School or at home. Stan Pethel's signature style of accessible fresh arrangements shines through in each hymn making Winds of Worship an essential addition to your library for the advanced or beginning player alike.Contents: Immortal Invisible ? Take My Life and Let It Be? Joyful Joyful We Adore Thee ? Near to the Heart of God ? Praise the Lord Who Reigns Above ? Love Lifted Me ? Like a River Glorious ? I Will Sing of the Mercies ? Savior Like a Shepherd LeadUs ? Higher Ground ? My Jesus I Love Thee ? and He's Got the Whole World in His Hands.
15.50 GBP - Sold by Musicroom UK | |
| Winds of Worship:
Trumpet: Instrumental
Album Shawnee Press
Trumpet-This uniquely flexible collection works great for solos duets trios q...(+)
Trumpet-This uniquely flexible collection works great for solos duets trios quartets quintets sextets and more! Each arrangement can be performed unaccompanied or accompanied using the fully orchestrated StudioTrax CD or pianoaccompaniment book. Mix and match instrumentation according to your needs in any given situation all year long in a variety of settings: worship services Sunday School or at home. Stan Pethel's signature style of accessible fresh arrangements shines through in each hymn making Winds of Worship an essential addition to your library for the advanced or beginning player alike.Contents: Immortal Invisible • Take My Life and Let It Be• Joyful Joyful We Adore Thee • Near to the Heart of God • Praise the Lord Who Reigns Above • Love Lifted Me • Like a River Glorious • I Will Sing of the Mercies • Savior Like a Shepherd LeadUs • Higher Ground • My Jesus I Love Thee • and He's Got the Whole World in His Hands.
15.99 GBP - Sold by Musicroom UK | |
| Contemporary Piano
Masters: Piano:
Instrumental Album
Piano solo - Intermediate Hal Leonard
This exceptional collection draws upon works from 20 of the world?s greatest pia...(+)
This exceptional collection draws upon works from 20 of the world?s greatest piano composers. This book is suitable for the intermediate-level pianist and offers engaging and inspiring pieces to elevate and expand their repertoire.
Includes beautiful pieces by Ludovico Einaudi, Yiruma, Dustin O?Halloran, Joe Hisaishi, Yann Tiersen and may more!
17.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Canzoniere Rosso Chanson [Sheet music] Carisch 16.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Niels Marthinsen: The
Dreamers: Chamber
Ensemble: Score and Parts Chamber Orchestra [Score and Parts] Wilhelm Hansen
The Dreamers - A Gothic Tale for Horn Trio by Niels Marthinsen. Programme note: ...(+)
The Dreamers - A Gothic Tale for Horn Trio by Niels Marthinsen. Programme note: The Dreamers for horn violin and piano is the sixth of a series of seven compositions named after Karen Blixen's collection of short stories Seven Gothic Tales. My musical gothic tales are written for very different ensembles - THE SUPPER AT ELSINORE is a saxophone quartet THE OLD CHEVALIER is for bass trombone and piano THE MONKEY is a chamber orchestra work - but they all share musical material in a criss-cross of contextual references reminiscent of Blixen's narrative complexity: Themes and motivs from one pieceappear in others in new and surprising shapes and combinations. Karen Blixen's THE DREAMERS has the most complex narrative structure of all her seven gothic tales. The story is made up of three tales with different narrators but with the same principal caracter in various disguises all three imbedded within a fourth tale that serves as a framework for the entire short story.The main story line unravels the life of a famous opera diva who looses her voice during a terrible fire. Before this her life was perpetual bliss and the tragedy drives her into assuming different personality guises in order to escape reality.Toward the end she is confronted with her true identity and dies.THE DREAMERS isn't 'about' anything. The music is inspired by the artistic content of Blixen's short story - it's emotionalism dramatic construction atmosphere period and settings - but unfolds in time and musical space in ways that are completely independent of the story's narrative progression...except one might say that the three players try their best to either catch or escape each other and that when they finally meet it happens abruptly even tragically - and only barely provides a little consolation.
49.99 GBP - Sold by Musicroom UK | |
| Oboenkonzert Oboe and Orchestra Schott
Although I never had any 'official' lessons with him, Heinz Holliger has become ...(+)
Although I never had any 'official' lessons with him, Heinz Holliger has become and will always remain a lifelong teacher to me. And we have developed a friendship that started 10 years ago, in Davos, where he heard me playing Robert Schumann's Fantasiestücke Op. 73 for the first time. Since then, we have performed together countless times, stood on (and behind) the stage, discussed, philosophized, made jokes. May this exchange never cease! The next occasion will be the World Première of my Oboe concerto which I dedicate to him in sincere friendship. Jörg Widmann / Hautbois Et Orchestre
75.09 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Rascal Flatts: Rascal
Flatts - Greatest Hits
Volume 1: Piano Vocal
and Guitar: Piano, Vocal and Guitar Hal Leonard
13 of the biggest hits off the first four studio CDs from this multi-platinum Oh...(+)
13 of the biggest hits off the first four studio CDs from this multi-platinum Ohio trio: Bless the Broken Road * Fast Cars and Freedom * Feels like Today * I Melt * I'm Movin' On * Life Is a Highway * Mayberry * My Wish * Prayin'for Daylight * Skin * Stand * These Days * What Hurts the Most.
23.99 GBP - Sold by Musicroom UK | |
| Alan Rawsthorne: Kubla
Khan: SATB: Vocal Score Choral SATB [Vocal Score] Oxford University Press
Rebecca Clarke's Come oh come my life's delight for SATB.for unaccompanied SAT...(+)
Rebecca Clarke's Come oh come my life's delight for SATB.for unaccompanied SATB to words by Thomas Campion.This is a lilting take on the Elizabethan lute-song full of smooth Stanford-like nineteenth-century harmonies exquisitely tempered with modal effects.Rebecca Clarke was born in Harrow in 1886 and died in New York City in 1979. She was one of the finest Viola players of her day and a skilful composer who studied with Stanford at the Royal College of Music in London. Her output as a composer was small comprising about 90 works but all these pieces are brilliant and powerful. Her Piano Trio and Viola Sonata are often playedand recorded and are now widely regarded as masterpieces. However her songs are perhaps her finest body of works and embrace a variety of styles from Blakean simplicity to brutal tragedy and outright farce. Rebecca Clarke's choral music was virtually unknown until Oxford University Press began to publish these works for the first time. She wrote for chorus and other vocal ensembles throughout virtually her whole career from her earliest attempts at composition around 1906 to her final flowering in the 1940s revising and recomposing until as late as 1976.
12.50 GBP - Sold by Musicroom UK | |
| Ultimate Play Along Just
Classic Jazz Bass Vol.2 Bass guitar [Sheet music] Alfred Publishing
Grands du jazz Haslip et Coates démontrent comment jouer au jazz trio classique...(+)
Grands du jazz Haslip et Coates démontrent comment jouer au jazz trio classique en utilisant des standards de jazz classiques plus importants. Cet ouvrage comprend: * facile à suivre graphiques montrant corde de respiration des Barry Coates voicings melody * notes de Performance, isolation de conseils et d'enregistrements recommandées * transcrit les solos de la notation et l'onglet * le long de jeu CD mettant en vedette mélodie et solos sur la section rythmique et de gauche à droite * neuf standards du jazz classiques * explication de toutes les techniques / Rép International / Tablatures / Guitare Basse Tablatures
34.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Best Of Rascal Flatts:
Piano Vocal and Guitar:
Mixed Songbook Piano, Vocal and Guitar Hal Leonard
Twenty favorites from this superstar country trio in arrangements for piano voi...(+)
Twenty favorites from this superstar country trio in arrangements for piano voice and guitar. Includes: Bless the Broken Road - Easy - Fast Cars and Freedom - I Won't Let Go - I'm Movin' On - Life Is a Highway - My Wish - Rewind - Summer Nights - What Hurts the Most - and more.
19.99 GBP - Sold by Musicroom UK | |
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