SKU: LP.OR-2286
UPC: 765762122505.
Give your men's section a chance to shine in Tom Fettke's arrangement of a traditional gospel favorite. From a 6/8 gospel swing feel at the beginning to a rip-roaring finish it's fun all the way and a glimpse of the Glory that lies ahead for believers!!
SKU: CL.012-5031-00
Antonin Dvorak first premiered his New World Symphony at Carnegie Hall in December of 1893 with the goal to bring American musical sensibility to European classical music. The second movement, labeled Largo, contained the melody that would later be identified as Goin’ Home. This well-crafted adaptation of that beautiful melody for concert band contains all the elements of the original orchestral version that has moved orchestral concert patrons for over a century. Expert scoring and careful orchestration techniques will ensure success with all ensembles. We think this outstanding arrangement will become a concert band classic for many years to come. Our highest recommendation!
SKU: CL.012-5031-01
SKU: IS.OR7575EM
ISBN 9790365075751.
The future of our fragile world is in our hands. As Sir David Attenborough stated on the Climate Conference in Glasgow on November, 1st, 2021: ... We are already in trouble. The stability we all depend on is breaking. This story is one of inequality, as well as instability. Today, those who’ve done the least to cause this problem, are being the hardest hit. Ultimately, all of us will feel the impact, some of which are now unavoidable. ... We’re going to have to learn together, how to achieve this, ensuring none are left behind. We must use this opportunity to create a more equal world and our motivation should not be fear, but hope. ... . We must be more caring about the wonderful place we live in... our unique home: Planet Earth. This music is both a shoutout to take care of our planet and a hymn to the beauty of this place. The composition is suited for stage as well as for the enjoyment in music school orchestral practice.
SKU: LP.OR-9163
UPC: 765762090002.
The Gospel Truth - add warmth and excitement to rehearsal times and worship services. 22 southern gospel and inspirational songs Arranged by Tom Fettke Toe-tapping and heart-warming SATB arrangements Includes several easy a cappella settings Moderate difficulty Song titles include: Boundless Love; Midnight Cry; Take Off Those Rags Lazarus; This World Is Not My Home; We Shall See Jesus; and more. Complete list of songs can be found in Contents below.
SKU: CL.011-3202-01
Bill Bailey not only won’t come home, he’s gone off on an around-the-world trip and he’s taking your band with him. This novel Larry Neeck arrangement of the old favorite Bill Bailey Won’t You Please Come Home and presents it as it could sound in the Far East, Carribbean, France, Italy, Middle East, Mexico and the USA! A terrific addition to any concert and a real audience pleaser!
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: LP.OR-9177
UPC: 765762090804.
Incre dible treasury of powerful choral arrangements by Tom Fettke 27 stirring classics and exciting standards Covers a wide range of styles including contemporary gospel praise and worship and southern gospel Large folio-sized solo/accompaniment edition provides an outstanding collection of medium-high voice solo arrangements as well as the full piano accompaniments for the choral book Split-channel accompaniment trax are available specifically for solo use. Choral music enthusiasts will enjoy the stereo listening recording available in cassette or CD. This excellent recording is produced by Tom Fettke and features the Master's Chorale. Sample titles include: High and Lifted Up; Praises; I Stand Here Forgiven; Think About His Love; God So Loved the World; Home Where I Belong; I Am; The Gates of Hell Shall Not Prevail; Joy of My Desire; My Life Is in You Lord.
SKU: HL.4008730
ISBN 9798350119473. UPC: 196288195238.
The last decades we humans have witnessed a significant number of disturbing developments. If we look at the direct and persistent destructive influence of humans on nature: air and water quality are reducing, soils are depleting, crops are short of pollinators, coasts are less protected from storms, deforestation, the degradation of land, loss of biodiversity and pollution. In stark contrast we find the intelligence and boundless creativity of humans: what about all the high technological advancements? What lies ahead in the realm of Artificial Intelligence? Will we let machines make human decisions? What ethical issues arise there? This composition reflects the desperation and urgency of the human need for action. The music draws inspiration from the brutal natural forces that ravage our world as a direct consequence of human failure and selfishness. Are we heading towards a 'Judgment Day'? Or will humanity find a way to reverse negative trends towards a more livable, peaceful, and joyful environment for humans, animals, and nature? To underscore this message, composer Peter Knockaert opted for a highly classical idiom that has been used by many composers in classical music: the 'Dies Irae'. Traditionally, the Dies Irae is the third part of a requiem (funeral mass). The text used in 'Judgment DayÂ? (for optional choir) is coming from the original Latin text.
Priority Direct Import titles are specialty titles that are not generally offered for sale by US based retailers. These items must be obtained from our overseas suppliers. When you order a Priority Direct Import title, our overseas warehouse will ship it to you directly at the time of order, typically within one business day. However, the shipment time will be slower than items shipped from our US warehouse. It may take up to 2-3 weeks to get to you.
SKU: HL.4008731
UPC: 196288195245.
SKU: CF.YPS133F
ISBN 9780825896255. UPC: 798408096250. 9 x 12 inches.
Combining two wonderful tunes into one new Christmas classic, Larry Clark takes the famous Largo from Dvorak's Symphony No. 9, From the New World and links it together with the popular holiday classic Home for the Holidays. The result is a piece where these tunes sound like they were always meant to be together. A uniquely musical way to showcase your band at their holiday concert. There is also a choral setting of this arrangement that will add to the excitement!
SKU: CL.012-3160-01
David Shaffer 's most impressive work to date is based on the famous Largo (Goin' Home) Section of Dvorak's New World Symphony. Contains magnificent writing that provides all sections of the band with equal chances to shine. Especially suited for bands in concert or contest, this exceptional tour-de-force for mature bands is destined to become an important and popular addition to the wind band repertoire. Very Highly Recommended!!
About C.L. Barnhouse Classics Series
Und er the editorial supervision of Dr. Alfred Reed, these classics from master composers have been adapted and arranged for concert band. A perfect way to acquaint concert band performers and audiences with some of the greatest classical music of all time!
SKU: CL.012-3160-75
SKU: CF.YPS58
ISBN 9780825862083. UPC: 798408062088. 9 X 12 inches. Key: Bb major. Text: Larry Clark. Larry Clark.
Taking the famous Largo from Dvořák’s New World Symphony and combining it with holiday favorites, Larry Clark has created a new piece that will live in our Christmas memories. This arrangement will feature the musicianship of your students. This is simple effective and nicely done.
SKU: CL.012-4181-01
In 1962, Karl King composed his last great march and dedicated it to his long time friend Meredith Willson of The Music Man fame. All the wonderful components of a classic march are evident throughout this toe tapping selection. His long list of popular marches continues to be performed around the world and, hopefully, this new and exciting edition will find its way into the music folders of your students. A real crowd pleaser!
About Heritage of the March
Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: CL.012-4181-75
SKU: HL.49009584
ISBN 9790200211009. UPC: 073999596618. 5.25x7.5x0.36 inches.
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
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.
