SKU: CL.013-0332-00
Note: This is a reprint from a vintage publication of 1905. No conductor score is published for this work. The Solo Cornet part serves as a conductor guide. Due to the era of this work, saxophone parts are not published. Parts for Eb Horns are included; no F Horn parts are published for this work. If a C Piccolo/C Flute part was not published originally, one has been subsequently added by our editorial staff.
SKU: HL.49019886
ISBN 9790001144797. 9.25x12.0x0.076 inches.
At funeral or memorial services and ceremonies, the traditional, slowly marching funeral music, the Tombeau, still plays an important musical role today. In most cases, such musics were created for a specific occasion, like the death of a prince or an artist. That was the case with this Tombeau for wind orchestra, too: Bertold Hummel wrote it after the death of a fellow composer and friend.Hummel was not afraid of expressing his feelings in a wistfully nostalgic funeral music full of tonal beauty which is close to the musical language of the 19th century with regard to form and harmony.In addition to the score and parts, our edition of this moving piece also contains the particell with which Hummel put down the Tombeau on paper in 1998.
SKU: HL.49019887
ISBN 9790001144803. 9.25x12.0x0.336 inches.
SKU: CF.CAS159F
ISBN 9781491165447. UPC: 680160924356. Key: D minor.
Charles Gounod (1818-1893) was a French composer who was well-known and well-regarded in his lifetime. His legacy included breaking from the grand opera tradition and influencing the next generation of Frenchcomposers. March of the Marionette was originally a piano solo titled Funeral March of a Marionette. Gounod wrote the piece to make fun of the music critic, Henry Chorley. The marionette dies in a duel, possibly a musical imitation of a public argument about the merits of Gounod’s compositions. The marionette’s friends have a funeral for him, creating a procession through the streets, with a brief stop for refreshments, illustrated in the D major section. This now-familiar theme has been used in frequently in advertisements, movies, and television shows. It was used as the theme music for Alfred Hitchcock Presents television show (1956-66) introducing dramas, mysteries, and thrillers.The prevailing bow strokes in this piece range from spiccato stroke to a light brush stroke for all eighth notes, regardless of articulation markings. Students should experiment with bow distribution to discover the appropriate placement for different dynamics. Students just learning the spiccato bow stroke will be more successful if they start this bow stroke close to their bow hand. Encourage students to discuss the character of the music and how to bring the storyline to life as an ensemble.
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS159
ISBN 9781491165041. UPC: 680160923953. Key: D minor.
Charles Gounod (1818–1893) was a French composer who was well-known and well-regarded in his lifetime. His legacy included breaking from the grand opera tradition and influencing the next generation of Frenchcomposers. March of the Marionette was originally a piano solo titled Funeral March of a Marionette. Gounod wrote the piece to make fun of the music critic, Henry Chorley. The marionette dies in a duel, possibly a musical imitation of a public argument about the merits of Gounod’s compositions. The marionette’s friends have a funeral for him, creating a procession through the streets, with a brief stop for refreshments, illustrated in the D major section. This now-familiar theme has been used frequently in advertisements, movies, and television shows. It was used as the theme music for Alfred Hitchcock Presents television show (1956–66) introducing dramas, mysteries, and thrillers.The prevailing bow strokes in this piece range from spiccato stroke to a light brush stroke for all eighth notes, regardless of articulation markings. Students should experiment with bow distribution to discover the appropriate placement for different dynamics. Students just learning the spiccato bow stroke will be more successful if they start this bow stroke close to their bow hand. Encourage students to discuss the character of the music and how to bring the storyline to life as an ensemble.
SKU: CY.CC3035
ISBN 9790530110102. 8.5 x 11 in inches.
This unique work is a musical depiction of Beethoven's funeral cortege through the streets of Vienna. Here is a brief description of the work by composer John Frith: It is well documented that at Beethoven's funeral on March 26th, 1827, a choir of trombones and male voices made appropriate music. This is not that music, but rather an attempt to recreate something of the sombre mood of that historic occasion. The work was written in honour of Ruben Carughi and Trombonanza friends for an 8-part low brass ensemble with moderately advanced performers with an instrumentation of: 1 Alto Trombone, 5 Tenor Trombones, Euphonium/Trombone and Tuba/Bass Trombone.
SKU: HL.4008566
ISBN 9798350110678. UPC: 196288180036.
Otto M. Schwarz was asked by a friend to compose a chorale for the funeral of his child. Lux Aeterna (The Eternal Light) is actuallypart of the requiem mass, but in this composition, there is no reference to the original Latin text. People who recount near-death experiences often report a bright light. The music moves back and forth between passages that are sad, optimistic, and imploring in nature, posing questions that cannot be answered. The end of the piece comes, however, with a conciliatory major chord that reflectsthe calm and warmth of this light that promises redemption.
SKU: CA.410600
ISBN 9790007096632.
Foll owing the complete collection of Heinrich von Herzogenberg's secular choral music (winner of the Music Edition Prize 2011), Carus has published Volume 2, the complete sacred a cappella choral works. The editor is once again Konrad Klek, who describes in detail the circumstances surrounding the composition of these works. In addition to the five cycles of Liturgische Gesange for various services during the church year, the original liturgical integration of the choral music is explained in detail. The four to eight-voice motet Mitten wir im Leben sind from 1881, composed in reaction to a catastrophic fire, is a first edition from the manuscript. Of the nine additional motets, until now two were not available: a festive five-part motet for Pentecost and the great double chorus for the silver anniversary of Mendelssohn's daughter, Lili Wach. Smaller choral settings for specific occasions (e.g., weddings) round out the picture. The Begrabnis-Gesang (funeral lament) for tenor solo and men's choir at the end of this volume, with his own words as well as music, is a very personal offering by the composer to the widow of his deceased friend, Philipp Spitta. All the works are also available in separate editions.
