SKU: LO.30-3220L

UPC: 000308142389.

Brimm ing with ancient Celtic flavor, Stars of Glory radiates the promise of the light of God’s salvation, fulfilled in the birth of Jesus Christ. Tom Fettke and Thomas Grassi have arranged a brilliant mix of eleven traditional carols for SATB choir, duet, optional solo, child’s solo, and women’s trio. Variously tender, introspective, joyous, and infectious, the selections in this work are connected by the common thread of their Celtic highlights, while Ken Bible’s readings beautifully illuminate the central theme—Jesus Christ, the Bright and Morning Star. Orchestration by Michael Lawrence for 2 Fl, Ob, 2 Cl, Bsn (sub Bass Cl), 2 Hn (sub 2 A Sax), 3 Tpt, 2 Tbn (sub 2 T Sax), Tuba, Perc, Timp, Harp, Pno, 2 Vln, Vla, Cello, Bass, Digital Strings.

SKU: LO.30-3218L

UPC: 000308142365.

Brimm ing with ancient Celtic flavor, Stars of Glory radiates the promise of the light of God’s salvation, fulfilled in the birth of Jesus Christ. Tom Fettke and Thomas Grassi have arranged a brilliant mix of eleven traditional carols for SATB choir, duet, optional solo, child’s solo, and women’s trio. Variously tender, introspective, joyous, and infectious, the selections in this work are connected by the common thread of their Celtic highlights, while Ken Bible’s readings beautifully illuminate the central theme—Jesus Christ, the Bright and Morning Star. Orchestration by Michael Lawrence for 2 Fl, Ob, 2 Cl, Bsn (sub Bass Cl), 2 Hn (sub 2 A Sax), 3 Tpt, 2 Tbn (sub 2 T Sax), Tuba, Perc, Timp, Harp, Pno, 2 Vln, Vla, Cello, Bass, Digital Strings.

SKU: AP.49059S

ISBN 9781470645779. UPC: 038081565255. English.

Written specially to help young players gain confidence and build upon their beginning playing abilities, Sinfonietta for Strings by Anthony Granata echoes the composition style of the classical period. A Sinfonietta is a smaller and lighter version of the symphony. Set in the key of G major, students will love the broad and vigorous unison opening, the sudden change to E minor, and the mixture of dialogue and easy counterpoint interwoven throughout the piece. This piece will help your students develop skills in proper right-hand bow facility, simple slur and bowing patterns, common rhythms, identification of accidentals, and use of dynamics to achieve a very strong and dramatic sound. (3:05) This title available in MakeMusic Cloud.

SKU: AP.49048

ISBN 9781470645588. UPC: 038081564081. English.

This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental-- -free of charge.

The most common anaconda snake is the Green Anaconda, and it is the most massive snake in the world! Anaconda by Chris Bernotas reflects that powerful snake in musical form. The rhythms drive forward with an intense melody characterizing the strength of the enormous creature. The pizzicato section is reflective of the anaconda as it stealthily makes its way through a swamp or river---be on guard! Correlated to Sound Innovations for String Orchestra, Book 1, Level 5. (2:15).

SKU: AP.43824S

UPC: 038081506913. English. Traditional English.

In this jubilant new treatment, we hear four less-common carols---The Holly and the Ivy, Good Christian Men, Rejoice, Sussex Carol, and Rejoice and Be Merry. The medleys are sensitively arranged, and with flowing textures, themes passed throughout the orchestra, and an utterly joyful atmosphere. (3:00).

SKU: HL.14043216

ISBN 9781783056200. English.

Mic hael Nyman's Musique A Grande Vitesse (MGV) translates as ‘high speed music’ and was commissioned by the Festival de Lille for the inauguration of the TGV North EuropeanParis-Lille line in 1993.

This piece of sheet music runs continuously, but was conceived as an abstract, imaginary journey; or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which isonly heard in its 'genuine' form when the piece reaches its destination.

Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic, melodic, harmonic, motivic, textural -constantly change their identity as they pass through different musical 'environments'.

The opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and aharmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A)begins the second section, featuring Brass, in D flat.

The topography of MGV should be experienced without reference to planning, description or timetables. Its tempo changes and unpredictable slowings downbear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably theband (amplified in live performance) lays down the tracks on which MGV runs.

SKU: AP.49048S

ISBN 9781470645595. UPC: 038081564098. English.

This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental-- -free of charge.

The most common anaconda snake is the Green Anaconda, and it is the most massive snake in the world! Anaconda by Chris Bernotas reflects that powerful snake in musical form. The rhythms drive forward with an intense melody characterizing the strength of the enormous creature. The pizzicato section is reflective of the anaconda as it stealthily makes its way through a swamp or river---be on guard! Correlated to Sound Innovations for String Orchestra, Book 1, Level 5. (2:15).

SKU: HL.49018099

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

SKU: AP.44794S

UPC: 038081517247. English.

This wonderful arrangement of the second movement from Mozart's Symphony No. 17 is an excellent piece for developing ensembles to learn about the stylistic nuances of Mozart. Arranged by Steven Campbell in G Major and set in common time, younger musicians will find the setting very accessible. This is a great way to introduce varied bowing techniques like staccato, legato, spiccato, and brushed strokes that often accompany the lighter Classical style. (4:10).

SKU: AP.44794

UPC: 038081517230. English.

This wonderful arrangement of the second movement from Mozart's Symphony No. 17 is an excellent piece for developing ensembles to learn about the stylistic nuances of Mozart. Arranged by Steven Campbell in G major and set in common time, younger musicians will find the setting very accessible. This is a great way to introduce varied bowing techniques like staccato, legato, spiccato, and brushed strokes that often accompany the lighter Classical style. (4:10).

SKU: KJ.SO60C

Over the years, God Rest Ye Merry, Gentlemen with its simple, plaintive melody and joyous words, has become a holiday favorite in the world over. Although this traditional English carol is often said to be in a minor key, it is actually in the Aeolian mode, (also known as natural minor), which is different from the more common harmonic form of minor in that the Aeolian mode's leading tone is a whole step from the tonic.The encouraging words of this carol are an inspiration to people everywhere.

SKU: AP.47481

UPC: 038081544489. English.

A beautiful arrangement by Richard Meyer of Waltz Number 1, Waltz Number 2, and the Coda from the original, set perfectly for the first full-orchestra experience. Perhaps the most widely popular composer of light classical music ever, Johann Strauss, Jr. wrote over 150 waltzes, bringing the form to perfection as an extended musical composition. The Blue Danube (the common English title of An der schonen blauen Donau---German for By the Beautiful Blue Danube), was composed in 1866 and was premiered in February of 1867. It has been one of the most popular classical pieces ever since. This title is available in MakeMusic Cloud.

SKU: AP.46714S

UPC: 038081537047. English.

This joyful and jubilant piece by Richard Meyer has the sound of a celebration and a title that describes how music unites us all: Yumiweeus. Hand drumming and a simple chant-like melody start the festivities, followed by an original theme and a set of six variations. Duets featuring the first stand players of every section introduce the first five variations, and a virtuosic final variation closes the piece. The changing meters and variety of key signatures and modes included here are sure to challenge all of your more advanced players. The measure of contrary motion that starts the piece is heard again between each variation and is meant to represent a coming together to common ground.