SKU: BR.OB-5557-15
ISBN 9790004341117. 10 x 12.5 inches.
The two-movement, incompletely transmitted Horn Concerto in D major K. 412 was long considered as Mozarts first horn concerto; it is, however, his last, and was written between March and December 1791. Mozart undertook revisions in the autograph which contains the most important orchestral parts next to the entire solo horn part in order to adjust the work to the modest technical abilities of the planned soloist Joseph Leutgeb. Mozart revised and completed the first movement, eliminated lower notes in the solo part, rewrote difficult passages and expanded orchestral interludes to give Leutgeb additional breath rests. Mozart also made similar simplifications in the second movement as well, but his early death prevented the completion of the work.Robert D. Levin reconstructed both versions of the concerto on the basis of the autograph. Next to the version revised by Mozart (post correcturam), he now presents the original version (ante correcturam) for the first time in a musical text revised and supplemented according to rigorous philological criteria.
SKU: HL.49004807
ISBN 9790001051088. UPC: 073999540772. 12.0x8.75x0.2 inches.
SKU: BR.OB-5557-16
ISBN 9790004341124. 10 x 12.5 inches.
SKU: TM.06536SET
Arr. by the composer.
SKU: BR.PB-5557
ISBN 9790004213674. 10 x 12.5 inches.
SKU: TM.06536SC
SKU: BR.OB-5557-26
ISBN 9790004341148. 10 x 12.5 inches.
SKU: BR.OB-5557-30
ISBN 9790004341155. 10 x 12.5 inches.
SKU: GI.G-017336
[Category].
A collection of well-known and beloved hymn tune accompaniments for all pianists called upon to play traditional hymns. Barnhouse, a respected concert pianist and teacher, is known for his ability to create and perform works that bring an artistic level of expression to the churchand concert stage. He does just that in this collection crafting creative introductions for each accompaniment with optional interludes between verses. Ideal for intermediate-level pianists, most of these hymn tunes have both a simpler and a slightly more difficult accompaniment plus arrangements in lower and higher keys. A perfect resource to introduce student pianists to accompanying traditional hymns.
SKU: BR.OB-5557-19
ISBN 9790004341131. 10 x 12.5 inches.
SKU: BR.EB-8698
ISBN 9790004184813. 9 x 12 inches.
The two-movement, incompletely transmitted Horn Concerto in D major K. 412 was long considered as Mozarts first horn concerto; it is, however, his last, and was written between March and December 1791. Mozart undertook revisions in the autograph which contains the most important orchestral parts next to the entire solo horn part in order to adjust the work to the modest technical abilities of the planned soloist Joseph Leutgeb. Mozart revised and completed the first movement, eliminated lower notes in the solo part, rewrote difficult passages and expanded orchestral interludes to give Leutgeb additional breath rests. Mozart also made similar simplifications in the second movement as well, but his early death prevented the completion of the work. Robert D. Levin reconstructed both versions of the concerto on the basis of the autograph. Next to the version revised by Mozart (post correcturam), he now presents the original version (ante correcturam) for the first time in a musical text revised and supplemented according to rigorous philological criteria.
SKU: AP.1-ADV7607
UPC: 805095076073. English.
The Latin-influenced piece consists of the theme (ABC), interlude, soprano and tenor saxophone solos, interlude, theme, a coda featuring the soprano, and culminates with the final cadenza. The soloists may either improvise or play the notated transcriptions. Solo sections may be opened up for additional choruses. Heiner Wiberny wrote this melodious and rhythmically spirited compositon for his son Julian. The Latin-Influenced piece was inspired by his collaboration as multiinstrumentalist with the WDR Big Band in Cologne during productions with Paquito D'Rivera, Bob Mintzer and Andy Narell. The piece consists of the theme (ABC), interlude, soprano and tenor saxophone solos, interlude, theme, a coda featuring the soprano, and culminates with the final cadenza. The soloists my either improvise or play the notated transcriptions of the composer. Solo sections may be opened up for additional choruses. A substitute alto part is printed on the back of the soprano.
SKU: CF.CPS216
ISBN 9781491152423. UPC: 680160909926.
Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections. This fanfare composition would be perfect for opening a concert. It has bold brass fanfare figures over textural woodwinds to start and then takes the listener on a sonic journey through a variation of harmonic colors, tambural and textural shifts.Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections. The first, a rather celebratory and triumphant fanfare in Bb major begins with the upper woodwinds and percussion creating a sound-screen, that is a busy texture consisting of a flurry of repeated notes over which the horns and alto saxophones present the opening theme. The sound-screen should be carefully balanced and give way to the melody at m. 5, which should be played extremely marcato. The timpani solo beginning in m. 11 must not be understated. A brief percussion interlude separates a restatement of the opening theme, this time with the addition of the trumpet, tenor saxophone, and euphonium, and a counter melody by the low winds. The percussion interlude is playful, light, but full of vigor and energy. An Ab in the low winds pulls the harmony towards G minor in m. 40 to start the second section, a more serious fanfare. Here, the marimba repeats an ostinato that is complemented by the bass drum and woodblock. The upper woodwinds with the xylophone and snare drum dance over the stern secondary fanfare. A longing call lead by the trombones, interrupted by a subtle snare drum beckons to the clarinets and horn who begin the third section of the piece at m. 68. This haunting melody in C minor is legato, and starkly contrasts all which came before it. A relentless concert tom-tom played with hard mallets keeps the momentum persistent, and a heartbeat-like pulse is felt from the tuba and baritone saxophone. The melody rises towards m. 84 when the brass harken back to the fanfare style before fading back into another lush woodwind strain.A recapitulation of the low winds’ call is heard at m. 100 which in this occasion intensifies into an emphatic statement by the battery percussion instruments. Now in Eb major, the opening fanfare theme is heard again once more before fading into the beginning of the piece’s conclusion.To end, the counter melody from the opening section duels with chromatic tension above before swelling to an arrival in the original key of Bb major. The full ensemble celebrates the piece’s resolution, and after a few crunchy power chords the journey is completed.
SKU: CF.CPS216F
ISBN 9781491153109. UPC: 680160910601.
SKU: AP.1-ADV7559
ISBN 9783892216636. UPC: 805095075595. English.
This cheerful and expressive pop-jazz song consists of an explosive introduction, a 64-bar AABC theme, an interlude, a solo for first alto on the AABC form, another interlude, ABC theme, and a coda.
SKU: HP.2253
UPC: 763628122539. 1 Thessalonians 4:16-18, John 19:37, Job 19:25, Jude 14, Philippians 2:9-11, Revelation 1:7, Revelation 11:15, Revelation 20:6, Revelation 22:20, Revelation 4:4-10, Zechariah 12:10.
Classic hymn tune A faithful interpretation of a classic hymn with an original introduction, interlude, and coda. A faithful interpretation of a classic hymn with an original introduction, interlude, and coda.
SKU: PR.416415110
UPC: 680160621286.
Commissioned by Kennesaw State University Symphony Orchestra in 2012, Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as the soloist and the KSUSO led by Prof. Michael Alexander at Bailey Center in KSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical story telling, Quyi, in a form of mixed reciting and singing style, with interludes played by percussion and plucking instruments in accompaniment. The folk musical story telling is sung in dialects from different geographic regions. I mixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.Commissioned by Kennesaw State University Symphony Orchestra in 2012,Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as thesoloist and the KSUSO led by Prof. Michael Alexander at Bailey Center inKSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical storytelling, Quyi, in a form of mixed reciting and singing style, with interludesplayed by percussion and plucking instruments in accompaniment. The folkmusical story telling is sung in dialects from different geographic regions. Imixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.
SKU: PR.41641511L
UPC: 680160621293.
