SKU: HL.44007387
UPC: 884088251550. 9x12 inches.
Three of Abraham Lincoln's favorite melodies serve to bring the sounds of his generation alive for your concert audience. Colorful orchestration combines with imaginative harmony and counterpoint to make this a strikingly original suite of familiar songs from a time gone by. Expressive, accented, lyrical, delicate, boisterous; you'll discover that A Lincoln Celebration shows off your band in a wide variety of ways and lets all the players thoroughly enjoy the process of performance preparation. Excellent cross-curricular opportunities.
SKU: HL.49030414
ISBN 9790220118623. UPC: 841886031890. 9.0x12.0x0.194 inches.
SKU: HL.4003068
UPC: 884088574949. 9.0x12.0x0.079 inches.
The final movement of Percy Grainger's masterwork Lincolnshire Posy is arranged here for younger bands with reduced instrumentation. Similar to his earlier adaptation of “Horkstow Grange”, Michael Sweeney carefully maintains the structural and harmonic integrity of the original while providing an authentic-sounding version at an easy level. Certain to become a “must have” for the young band repertoire. (Grade 2.5) Dur: 2:50.
SKU: HL.4004970
UPC: 888680653613. 9.0x12.0x0.051 inches.
The opening movement of Grainger's Lincolnshire Posy is the brief yet engaging “Lisbon†and has been arranged here for young players and reduced instrumentation. Even with minor simplification and modest ranges, the character and authenticity shines through in this skilled adaptation. Dur: 1:30.
SKU: CF.WE22
ISBN 9781491153352. UPC: 680160910854. Key: F dorian.
Composed by Paul Lanksy, The Long and Short of It for Wind Quintet was inspired by the third movement of Mozart's Serenade for Winds, K. 361. Lanksy was particularly drawn to Mozart's accompaniment, which he refers to as the ultimate expression of breath in music. Nothing else quite captures the same sense of wind instruments inhaling and exhaling as only winds can. Five of the movements in Lansky's composition use Mozart's rhythm accompanying a solo, and the remaining four movements focus on musical concepts such as rhythm, harmony, and counterpoint. This piece was commissioned by The Library of Congress' Carolyn Royall Just Fund and The Chamber Music Society of Lincoln Center.
Performance Notes
The Long and Short of It was inspired by the third movement Adagio of Mozarts Serenade for Winds K. 361. Ive long felt that the throbbing accompaniment was the ultimate expression of breath in music. Nothing else quite captures the same sense of wind instruments inhaling and exhaling as only winds can. The work consists of nine movements, a Prelude, a Postlude and three short Interludes, each consisting of Mozarts rhythm accompanying a solo for a different instrument in the quintet. There are four short main movements, each of which is more abstractly about a musical concept: rhythm, harmony, counterpoint.
The Long and Short of It was commissioned by The Library of Congress Carolyn Royall Just Fund and The Chamber Music Society of Lincoln Center.
Paul Lansky (2015)
The Long and Short of It was inspired by the third movement Adagio of Mozartas Serenade for Winds K. 361. Iave long felt that the throbbing accompaniment was the ultimate expression of breath in music. Nothing else quite captures the same sense of wind instruments inhaling and exhaling as only winds can. The work consists of nine movements, a Prelude, a Postlude and three short Interludes, each consisting of Mozartas rhythm accompanying a solo for a different instrument in the quintet. There are four short main movements, each of which is more abstractly aabouta a musical concept: rhythm, harmony, counterpoint.
The Long and Short of It was commissioned by The Library of Congressa Carolyn Royall Just Fund and The Chamber Music Society of Lincoln Center.
aPaul Lansky (2015)
The Long and Short of It was inspired by the third movement Adagio of Mozart's Serenade for Winds K. 361. I've long felt that the throbbing accompaniment was the ultimate expression of breath in music. Nothing else quite captures the same sense of wind instruments inhaling and exhaling as only winds can. The work consists of nine movements, a Prelude, a Postlude and three short Interludes, each consisting of Mozart's rhythm accompanying a solo for a different instrument in the quintet. There are four short main movements, each of which is more abstractly 'about' a musical concept: rhythm, harmony, counterpoint.
The Long and Short of It was commissioned by The Library of Congress' Carolyn Royall Just Fund and The Chamber Music Society of Lincoln Center.
--Paul Lansky (2015)
SKU: CF.WE22F
ISBN 9781491153369. UPC: 680160910861.
SKU: BT.AMP-422-140
English-German-French-Dutch.
Three Washington Statues was commissioned by the United States Army Band â??Pershings Ownâ?, led by Colonel Thomas H. Palmatier. Washington D.C. contains some of the worldâ??s most iconic monuments, memorials and statues. Philip Sparke has chosenthree of these as the inspiration for this piece: â??The Lincoln Memorialâ?? in the form of a Greek Doric temple in which the composer depicts the grandeur of this monument; â??The Martin Luther King, Jr. Memorialâ?? on which steps the iconic speech â??I havea dreamâ?? was given - the music is both reverential as well as powerful referring to Martin Luther Kingsâ?? speech; and the â??Encoreâ?? statue in memory of the world famousAfrican-American composer, pianist and bandleader Duke Ellington. In this finalmovement, Philip Sparke catches the virtuosic, energetic and unique dynamism of Ellingtonsâ?? music.Three Washington Statues is geschreven in opdracht van de United States Army Band â??Pershingâ??s Ownâ?? en de leider van dit orkest, kolonel Thomas H. Palmatier. Washington D.C. is het decor van een aantal van de meest iconische monumenten,gedenktekens en standbeelden van de VS. Componist Philip Sparke heeft er drie uitgekozen als inspiratie voor dit werk: The Lincoln Memorial, in de vorm van een Griekse Dorische tempel, waarin de grandeur van het monument wordt verklankt; het MartinLuther King Jr. Memorial, het gebouw waar de iconische toespraak â??I have a dreamâ?? ooit weerklonk de sfeer is respectvol en eerbiedig, maar de muziek weerspiegelt tevens de karakteristiekekracht die ervan uitgaat; en het beeld â??Encoreâ?? vancomponist, pianist en bandleider Duke Ellington in dit laatste deel geeft Philip Sparke de virtuoze, energieke, unieke en dynamische stijl van Ellingtons muziek weer.Three Washington Statues wurde von der United States Army Band Pershings Ownâ??, die von Oberst Thomas H. Palmatier geleitet wird, in Auftrag gegeben. Washington D.C. besitzt einige der weltberühmtesten Bauwerke, Denkmäler und Statuen. PhilipSparke hat drei von diesen als Inspiration für dieses Stück genommen. So beschreibt er die Erhabenheit des Lincoln Memorialâ??, das mit seinen dorischen Säulen in Form eines griechischen Tempels erbaut wurde. Das Martin Luther King, Jr. Memorialâ??erinnert an die legendäre Rede Martin Luther Kings I have a dreamâ?? (Ich habe einen Traumâ??). Die ehrfurchtsvolle und zugleich kraftvolle Musik ist ein Tribut an diese Rede. Die StatueEncoreâ?? erinnert an den weltbekannten afroamerikanischenKomponisten, Pianisten und Bandleader Duke Ellington. In diesem letzten Satz fängt Philip Sparke die virtuose, energiegeladene und einzigartige Dynamik von Duke Ellingtons Musik ein.Three Washington Statues fut commandé par la United States Army Band « Pershingâ??s Own », dirigée par le Colonel Thomas H. Palmatier. Certains des monuments, mémoriaux et statues les plus emblématiques du monde se trouvent Washington D.C.Philip Sparke en a choisi trois comme inspiration pour ce morceau : « The Lincoln Memorial » où le compositeur dépeint la grandeur de ce temple grec de style dorique ; « The Martin Luther King, Jr. Memorial » sur les marches duquel le discourscélèbre « I have a dream » fut prononcé la musique est révérencieuse ainsi que puissante en référence ce discours de Martin Luther King ; et la statue « Encore » en mémoire du célèbrecompositeur, pianiste et chef dâ??orchestre de jazzafro-américain Duke Ellington. Dans le mouvement final, Philip Sparke a réussi saisir le dynamisme virtuose, énergétique et unique de la musique dâ??Ellington.Commissionato dalla banda dellâ??esercito statunitense, condotta dal colonnello Thomas H. Palmatier, Three Washington Statues è un brano dedicato ad alcuni dei più noti e iconici monumenti americani mai realizzati. Philip Sparke ha scelto,difatti, di musicare la stentoreit del Lincoln Memorial, della statua di Martin Luther King di West Potomac Park e di quella dedicata al gigante della musica afro-americana Duke Ellington.
SKU: HL.292925
UPC: 888680932879. 6.75x10.5x0.029 inches. Abraham Lincoln/Daniel McDavitt.
Daniel McDavitt has composed an exquisite trilogy using texts from three American greats: Ralph Waldo Emerson, Abraham Lincoln, and William Wordsworth. Although they can be performed individually, they are most powerful as a set, each with flute obbligato. The first ââ¬Åmemoryââ¬Â from Emerson is about music, and is joyful and buoyant. The second ââ¬Åmemoryââ¬Â is from Lincoln, and is more reflective about childhood. The final ââ¬Åmemoryââ¬Â by Wordsworth combines the thoughts of the previous two in a mature understanding. A delightful trilogy for high school choirs.
SKU: CF.W2693
ISBN 9781491158586. UPC: 680160917198. 9 x 12 inches.
While unknown today, composer William Pettee (1839a1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880a1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (atuba soloa spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwellas Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Petteeas Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839-1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880-1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (tuba solo spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell's Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee's Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839–1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880–1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra.Olosabut (“tuba solo†spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell’s Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee’s Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.
