Me Me And None But Me

SKU: BT.AMP-417-030

English-German-French-Dutch.

Second to None is a perfectly suitable title for this work, though it actually refers to “Nulli Secundus”, the motto of the British Corps of Army Music, who gave the commission to Philip Sparke. The piece opens with a fanfare, followed by two short quotes from two of the Corp’s own marches and a festive Vivace. A more legato central section creates a nice contrast before the work closes with the opening fanfare. A perfect affair!

De titel Second to None past heel goed bij dit werk, maar verwijst eigenlijk naar ‘Nulli Secundus’, het motto van British Army Corps of Music, het orkest dat Philip Sparke de opdracht voor dit werk gaf. Second to None opent met een fanfare. Daarna volgen twee korte citaten uit twee van de eigen marsen van het orkest en een feestelijke Vivace. Een meer legato deel creëert een mooi contrast voordat het werk wordt afgesloten met de openingsfanfare. Van begin tot einde prachtig!

Second to None (Unübertroffen“) wurde zum 20-jährigen Jubiläum der britischen Armee komponiert. Das feierliche Werk honoriert die musikalische Tradition des Corps, indem es auf einige seiner eigenen berühmten Märsche, wie beispielsweise The Corps of Army Music Slow March (Greg Machin) und The Music Makers (Ian Mitchell), anspielt. Second to None kann auch in einer kürzeren Fassung gespielt werden und ist ein ideales Eröffnungsstück für jedes festliche Konzert.

Second to None est un titre qui convient parfaitement ce morceau, même s’il fait en fait référence « Nulli Secundus », la devise du British Corps of Army Music, l'orchestre qui a fait la commande auprès de Philip Sparke. La pièce commence par une fanfare, suivie de deux citations courtes de deux de leurs propres marches, et un Vivace festif. Une section plus legato crée un beau contraste avant la fin où la fanfare du début est répétée. Parfait !

Second to None was composed for the celebration of the 20th anniversary of the British Army Corps. Paying tribute to the musical tradition of the Corps, this celebratory work refers to some of its own famous marches like The Corps of ArmyMusic Slow March (Greg Machin) and The Music Makers (Ian Mitchell). Second to None - which can also be played in a shorter version - is an ideal opener for any festive concert.

SKU: BT.AMP-417-010

English-German-French-Dutch.

Second to None is a perfectly suitable title for this work, though it actually refers to “Nulli Secundus”, the motto of the British Corps of Army Music, who gave the commission to Philip Sparke. The piece opens with a fanfare, followed by two short quotes from two of the Corp’s own marches and a festive Vivace. A more legato central section creates a nice contrast before the work closes with the opening fanfare. A perfect affair!

De titel Second to None past heel goed bij dit werk, maar verwijst eigenlijk naar ‘Nulli Secundus’, het motto van British Army Corps of Music, het orkest dat Philip Sparke de opdracht voor dit werk gaf. Second to None opent met een fanfare. Daarna volgen twee korte citaten uit twee van de eigen marsen van het orkest en een feestelijke Vivace. Een meer legato deel creëert een mooi contrast voordat het werk wordt afgesloten met de openingsfanfare. Van begin tot einde prachtig!

Second to None (Unübertroffen“) wurde zum 20-jährigen Jubiläum der britischen Armee komponiert. Das feierliche Werk honoriert die musikalische Tradition des Corps, indem es auf einige seiner eigenen berühmten Märsche, wie beispielsweise The Corps of Army Music Slow March (Greg Machin) und The Music Makers (Ian Mitchell), anspielt. Second to None kann auch in einer kürzeren Fassung gespielt werden und ist ein ideales Erönungsstück für jedes festliche Konzert.

Second to None est un titre qui convient parfaitement ce morceau, même s’il fait en fait référence « Nulli Secundus », la devise du British Corps of Army Music, l'orchestre qui a fait la commande auprès de Philip Sparke. La pièce commence par une fanfare, suivie de deux citations courtes de deux de leurs propres marches, et un Vivace festif. Une section plus legato crée un beau contraste avant la fin où la fanfare du début est répétée. Parfait !

Second to None (Secondo a nessuno) è un titolo perfetto per questo lavoro, anche se in realt si riferisce a “Nulli Secundus”, il motto del British Corps of Army Music, che lo ha commissionato a Philip Sparke. Il brano si apre con una fanfara, seguita da due brevi citazioni, prese da due delle marce del Corpo e da un gioioso Vivace. Una sezione centrale, che da più spazio al legato, crea un piacevole contrasto con la fanfara iniziale prima della chiusura del brano. Un connubio perfetto!

SKU: HL.8748346

UPC: 884088219710. 5x5 inches.

This product for the smaller-sized church choir consists of six accessible anthems with special attention to voice leading, the use of limited ranges, and carefully crafted piano accompaniments. New issues will be released three times per year. Enrollment option available. Titles included in this issue: God Bless the U.S.A. (with America, the Beautiful), Jesus Paid It All, Highway to Heaven, There Is None Like You (with I Love You Lord), In Remembrance of Me, Fairest Lord Jesus. Available separately: Choral Book, ChoirTrax CD, Kit (10 Choral Books, 1 ChoirTrax CD, 1 Preview CD), Choral Book 10-Pak, Preview CD, Preview CD 10-Pak, Preview Pak (1 Choral Book, 1 Preview CD).

SKU: LO.15-3773H

ISBN 9780787770228.

One thing of all dim things I know is true, the heart within me knows, and tells it you … So blind is life, so long at last is sleep, and none but Love to bid us laugh or weep. Willa Cather's reflective words rise to another level of awareness in this tender and deeply felt setting for concert or contest. Singers will easily master the choral parts, with one brief section of soprano divisi. Add the soulful oboe part to heighten the musical effect.

SKU: HL.300021

ISBN 9781540061737. UPC: 888680960032. 9.0x12.0x0.052 inches.

Program Notes: None But The Lonely Heart is a song from Tchaikovsky's Six Romances, Op. 6 for voice and piano. The song is a setting in Russian translation of Goethe's poem Nur wer die Sehnsucht kennt, which has attracted many composers, most famously Franz Schubert. This is my second orchestration of music by Tchaikovsky, the first being Andante Cantabile from his String Quartet No. 1. I tried to make these transcriptions sound as if they had been orchestrated by the composer himself - as is also the case with my transcriptions of music by Rachmaninoff, Janacek, Bizet, and Revueltas. This is my natural tendency, following the spirit ofthe music. Jose Serebrier Comments: Orchestrated from Tchaikovsky's Six Romances, Op. 6, No. 6.

SKU: CA.5022900

ISBN 9790007087463.

Rheinberger's string quartets, his string quintet and his nonet for winds and strings were often performed and were very successful works during his lifetime. Their density, but also the delicateness of the scherzo movements are in the tradition of Schumann and Mendelssohn and these traits are combined with Rheinberger's sense for the clear, defined structure of the movements and solid contrapuntal writing. The octet for winds and strings is published here for the first time and the nonet, which is actually a reworking of this octet that Rheinberger undertook some twenty years later, is also published in this volume. Rheinberger made major changes from the original octet and he added two new movements to the nonet. Both works show especially the interest and pleasure which he derived from the variety in the differentiation of colors in ensemble playing. The Thema mit Veranderungen op. 93, which until now has been known as a work for string quartet, is published here with the double bass part which Rheinberger later added.

SKU: UT.DM-14

ISBN 9790215301481. 9 x 12 inches.

Mi sono deciso a porre ordine ai miei appunti e studi sui canoni senza tenor nella speranza di essere utile a coloro i quali, attraverso il mio modesto sforzo, potranno abbreviare il lungo lavoro di addestramento in quella materia che ritengo sia l'unica ad affrontare sistematicamente e compiutamente la problematica compositiva dell'imitazione, cioe lo studio delle tecniche di imitazione canonica dei secoli XVI e XVIII.
Questo mio studio propone allo studente una serie di documenti storici di grandi didatti musicali del passato, quali Ludovico Zacconi, Giovanni Battista Martini e Orazio Tigrini nonche un mio personale e modesto contributo. Le fonti antiche sono state tradotte in italiano corrente, pur lasciando intatti alcuni termini specifici, del resto ben comprensibili.
Il presente volume e da impiegare come manuale di lavoro e di studio per chi voglia imparare la difficile arte dell'imitazione. Vengono qui affrontati, in modo sistematico e scientifico, la pratica del canone <>, molto lodata da Zacconi quale strumento per stimolare l'ingegno dello studente, i canoni <> - piu interessanti e utilizzabili musicalmente - e la prassi di rivoltare un canone o brano qualsiasi al fine di ottenerne 'onestamente' una nuova composizione. Sono stati ignorati volutamente tutti quei canoni enigmatici o oscuri che non contengono nessun interesse musicale o didattico. Si e inoltre affrontato sistematicamente il criterio di 'fugare' un tenor, pratica molto in voga nei secoli dal XV al XVII e attinente al nostro argomento.
(G. Pacchioni).