SKU: BT.BMP8095417
A lot is known about the American composer Leroy Anderson. This son of Swedish immigrants played the piano, organ, accordion, trombone, tuba and double bass. He spoke several languages fluently and graduated from Harvard with first-class honours.While on military service, the army also commissioned him to write a manual on Icelandic grammar.He already started writing musical arrangements as a student, and from his 30th year arranged and composed for the Boston Pops Orchestra. Such melodiesas Serenata, The Typewriter, Sleigh Ride and Bugler�s Holiday made him world famous. His best-known work, Blue Tango, reached number one in the US charts in 1952, and it sold more than a million copies. In 1975, a year after hisdeath, he was given a star at the Walk of Fame in Hollywood.Most of his works last no longer than three minutes, about the maximum length of a single at that time. One work that lasts longer is his 1953 Piano Concerto in C for piano and orchestra.The first performance was in Chicago, conducted by the composer and with Eugene List at the piano. However, after three performances he was no longer happy with the work and withdrew it. He always intended to revise it, but never got round to it. Itwas only in 1989 that the Anderson family decided to republish the work.This three-part composition is on the one hand characterised by a careless elegance, but on the other one can hear the influence of Rachmaninoff, Copland, Gershwin, and evenBeethoven and Mozart, as well as the Viennese classics.Anderson used the sonata form for the first movement. It ends with a cadenza that carries us on into the second part (in e minor). The third part is a typically cheerful American folk dance in2/4 time, a so-called Hoe Down, with a lilting, lyrical passage as its middle section. At the end comes a solo passage followed by a rapid close.In this piano concerto, Anderson combines a rigidly classical form of composition with simple andappealing themes and elements from light music. So this work is a perfect synthesis of light music and what is called serious music, in the same way as Gershwin�s Rhapsody in Blue. A work that can be played equally well in a concerthall, at an open-air concert or even a pop concert.Over de Amerikaanse componist Leroy Anderson is veel bekend. Deze zoon van Zweedse immigranten speelde piano, orgel, accordeon, trombone, tuba en contrabas. Hij sprak vloeiend verschillende talen en studeerde met grote onderscheidingaf aan Harvard en schreef tijdens zijn legerdienst in opdracht van het leger een handboek grammatica Ijslands.Al in zijn studententijd begon hij met het maken van arrangementen, en vanaf zijn 30ste arrangeerde en componeerde hijvoor het Boston Pops Orchestra. Melodieën zoals Serenata, The Typewriter, Sleigh Ride en Bugler's Holiday maakte hem wereldberoemd. Zijn bekendste werk Blue Tango stond in 1952 op nummer één in de VS Charts, ener werden meer dan een miljoen exemplaren van verkocht. Een jaar na zijn dood in 1975 kreeg hij een ster op de Walk of Fame in Hollywood.Zijn meeste werken duren niet langer dan drie minuten, ongeveer de maximumduur van een singletoen. Een werk dat wel langer duurt, is het pianoconcerto in C voor piano en orkest uit 1953. Het werd in Chicago gecreëerd onder zijn leiding met Eugene List aan de piano. Na drie uitvoeringen echter, was hij niet meer tevredenover zijn werk en trok dit terug. Hij had zijn leven lang de intentie het te herwerken doch kwam er niet meer toe. Pas in 1989 besliste de Anderson Familie zijn pianoconcerto toch opnieuw uit te geven.Dit driedelige werk wordtenerzijds getypeerd door een zorgeloze elegantie, maar anderzijds zijn invloeden van Rachmaninoff, Copland, Gerschwin en zelfs Beethoven en Mozart alsook de Weense klassiekers te horen.Voor de eerste beweging, past Anderson de sonatevormtoe. Op het einde volgt een cadenza die ons in het tweede deel (in mi klein) voert. Het derde deel is een typische Amerikaanse, vrolijke volksdans in 2/4, een zogenaamde Hoe Down met als middengedeelte een zangerige, lyrischeÜber den amerikanischen Komponisten Leroy Anderson lässt sich vieles berichten: Der Sohn schwedischer Immigranten spielte Klavier, Orgel, Akkordeon, Posaune, Tuba und Kontrabass, sprach neun Sprachen fließend, absolvierte mit einemMagna-cum-laude-Abschluss die Harvard Universität und verfasste während seiner Militärzeit im Zweiten Weltkrieg für die amerikanische Armee eine Grammatik des Isländischen. Schon während seiner Studentenzeit begann er zu arrangieren, ab Mitte der30er Jahre des letzten Jahrhunderts arrangierte und komponierte er für das Boston Pops Orchestra. Aus seiner Feder stammen so bekannte Werke der leichten Muse wie Serenata, The Typewriter, Sleigh Ride oder Bugler�s Holiday. Sein wohlbekanntestes Stück, Blue Tango, wurde als erste Instrumentalkomposition über eine Million Mal verkauft und belegte im Jahr 1952 Platz 1 der US-Charts. Für seine Verdienste um die Schallplattenindustrie erhielt er ein Jahr nach seinem Tod einenStern auf dem Walk of Fame in Hollywood.Charakteristisch für seine Werke ist die Dauer: die meisten sind rund drei Minuten lang � mehr passte nicht auf den damals gebräuchlichen Tonträger, eine Singleschallplatte. Nur wenige seinerKompositionen sprengen diesen Zeitrahmen. Dazu gehört sein Konzert C-Dur für Klavier und Orchester. Er komponierte es 1953, die Uraufführung fand unter seiner Leitung und mit Eugene List am Klavier im selben Jahr in Chicago statt. Da Anderson mit demWerk aber nicht zufrieden war, zog er es im Sommer 1954, nach nur drei Aufführungen, wieder ein. Er hatte zeitlebens die Absicht, es zu überarbeiten, allein, es kam nicht mehr dazu. Erst 1989 entschied sich die Anderson-Familie dazu, dasKlavierkonzert wieder zu veröffentlichen.Das dreisätzige Werk zeigt die Unbeschwertheit und Eleganz, die Andersons sämtliche Kompositionen auszeichnen. Dennoch findet man darin auch Anklänge an Komponisten wie Rachmaninoff, Copland, Gershwin, undeben Beethoven und Mozart, sowie die Wiener Klassiker. Der erste Satz folgt der Sonatenhauptsatzform. An seinem Ende steht eine Klavierkadenz, die direkt in den langsamen zweiten Satz (in e-Moll) überleitet. Der dritte Satz schließlich ist einwaschechter Hoe Down, ein fröhlicher amerikanischer Volkstanz im 2/4-Takt, in dessen Zentrum aber eine lyrisch-gesangliche Passage steht. Eine weitere Solo-Kadenz führt das Werk in einen spritzigen Schlussabschnitt.In seinem Klavierkonzertvereinigt Anderson einen klassisch-traditionellen Form- und Kompositionsstil mit Elementen der Unterhaltungsmusik und eingängigen Melodien, die schon immer sein Markenzeichen waren. Daher bildet dieses Werk eine perfekte Synthese von ernster undleichter Musik. Es passt � wie beispielsweise auch George Gershwins Rhapsody in Blue � gleichermaßen in einen vornehmen Konzertsaal, wie auch zur zwanglos-lockeren Atmosphäre einer sommerlichen Open-Air-Veranstaltung oder einesPops-Konzertes.Nous savons beaucoup de choses sur le compositeur américain Leroy Anderson. Ce fils dimmigrants suédois jouait du piano, de lorgue, de laccordéon, du trombone, du tuba et de la contrebasse. Il parlait couramment plusieurs langues et était diplômé avec grande distinction de Harvard. Pendant son service militaire, il écrivit un manuel de grammaire islandaise commandé par larmée.Étudiant, il avait déj commencé faire des arrangements et dès l ge de 30 ans, il arrangeait et composait pour le Boston Pops Orchestra. Des mélodies telles que Serenata, The Typewriter, Sleigh Ride et Buglers Holiday lui valurent une renommée mondiale. Son uvre phare, Blue Tango, fut numéro un descharts américains en 1952 et se vendit plus dun million dexemplaires. Un an après sa mort en 1975, il eut droit son étoile sur le Walk of Fame Hollywood.La plupart de ses uvres nexcèdent pas trois minutes, soit peu près la durée maximale dun single lépoque. Son concerto en ut pour piano et orchestre de 1953 est quant lui plus long. Il fut créé Chicago sous sa direction avec Eugene List au piano. Après trois exécutions, Anderson nétait toutefois plus satisfait de son travail et le retira. Toute sa vie, il eut lintention de le remanier mais ne le fit pas. Ce nest quen 1989 que la famille Anderson décida de tout de m?me rééditer son concerto pour piano.Cette uvre en trois parties se caractérise par son élégance nonchalante mais aussi par linfluence de Rachmaninoff, Copland, Gershwin et m?me de Beethoven et Mozart, ainsi que des classiques viennois.Pour le premier mouvement, Anderson opte pour une sonate. la fin, une cadence nous conduit la deuxième partie (en mi mineur). La troisième partie est une danse populaire joyeuse et typiquement américaine en 2/4, une Hoe Down avec un passage lyrique et mélodieux en son milieu. la fin, un solo est suivi par une clôture rapide.Dans son concerto pour piano, Anderson unit une composition pure et classique des thèmes beaux et simples, sans oublier des éléments de la musique légère. Cette uvre.
SKU: IS.FP7297EM
ISBN 9790365072972.
Peter Benoit, one of the great Flemish Romantic composers and often considered the origin of the Flemish School, was better known for his piano and choral music than for his wind music. Nevertheless, his one entry into the flute repertoire - the Concerto - is an exemplary piece of high Romanticism that combines symphonic writing with idiomatic, virtuosic flute technique. Composed as part of a ‘legendary triptych’ - the Stories and Ballads for Piano, the Symphonic Tale for Piano and orchestra, and the Flute Concerto - the three movements show the Concerto for the tone poem it is at heart. The first Preludium (Will-o’-the-Wisps) begins with a fiery orchestral fanfare, with an equally grand entrance by the soloist that introduces the first theme and launches the movement into the formidable back-and-forth between soloist and orchestral forces. The second, Melancholia, somewhat resembles the Molique Andante in its construction - a clear, wistful theme is embellished and carefully expanded into a full musical showpiece for flute. The Finale (Dance of the Wisps) then immediately launches into a display of the flutist’s agility, moving through various permutations of the theme before coming to an exuberant, grateful landing.
SKU: HL.14030790
ISBN 9780853604488. 8.0x12.0x0.198 inches.
While Gordon Jacobs composed a vast amount of music - more than four hundred pieces -- he was particularly celebrated for his work for Viola and for woodwinds, as well as for his books on music pedagogy. Jacob had an early success with his Viola Concerto of 1926 which was premiered at a Promenade concert and which was the beginning of a series of strong contributions to Viola repertoire. This Sonatina for Viola and Piano demonstrates his sensitive writing for the instrument. It works very well when performed on clarinet as well.While many composers of the 20th century rejected serialism, atonality and other avant garde effects in favour of Romanticism, Jacob was much morean adherent to the musical models of the classic and baroque eras, while still encompassing modern harmonies. His work Music for a Festival, for symphonic wind band and brass ensemble, was used for the post-war Festival of Britain and he arranged the British national anthem for the coronation of Queen Elizabeth II.
SKU: BT.BMP8091417
SKU: PR.114424240
ISBN 9781491137581. UPC: 680160691036.
THE BONES OF MR. FORTUNE (FREE AT LAST!) is an 11-minute concerto-like work for solo flute accompanied by symphonic winds and percussion – perfect to play with band or with orchestra, as well as with the composer’s own piano reduction. The work features lengthy cadenzas, and exhilarating dance-like sections with the ensemble. Hailstork describes the historical inspiration: Abused in life and death, an enslaved man (Mr. Fortune) was owned by a surgeon who preserved his skeleton to study anatomy. The bones remained with the doctor’s family for generations, and were given a proper burial making national news in 2013, 215 years after Mr. Fortune’s death.Abused in life and death, an enslaved man known as Mr. Fortune was honored with an elaborate funeral more than 200 years after he died in Connecticut.Mr. Fortune was owned by Dr. Preserved Porter on a farm in Waterbury, Connecticut. When Fortune died in 1798, Porter, a bone surgeon, preserved his skeleton by having the bones boiled to study anatomy at a time when cadavers for medical study were disproportionately taken from slaves, servants and prisoners.One of Porter’s descendants gave the skeleton in 1933 to Mattatuck Museum in Waterbury, where it was displayed from the 1940s until 1970. The descendant referred to the slave as “Larry†and his name was forgotten at the time.A study by forensic anthropologists at the Quinnipiac University School of Medicine concluded that Fortune was about 5 feet 5 inches tall and died at around 55 years old. He suffered a number of painful ailments, including a fracture in his left hand, a severe ankle sprain and lower back pain. “He was an individual who was in considerable distress,†a forensic professor, Richard Gonzalez said.I was taken by the bizarre story of Mr. Fortune and decided to use it as the stimulus for this work.
SKU: ML.011268120
PARADE CONCERTO was Lancen's first concerto for symphonic band. He had fallen in love with the marvellous sonorities of a symphonic band and wanted to join the wind players in a concert, so he wrote this concerto and gave it a parade character. PARADE CONCERTO was premiered in 1972 by Pierre NIMAX in Esch-sur-Alzette (Luxemburg), G. WAGNER conducting. That same year the composer performed it for the first time, in Spain with the Banda Primitiva from Lliria, Jan MOLENAAR conducting. He has performed it since in many countries, including France, Belgium, Holland, Germany, Luxemburg, Norway and the USA.
SKU: SU.50028330
Parts available on rental. Piano version available.Copyright 1982. Published by: Seesaw Music.
SKU: BF.BM797-SET
Despite being very busy with three different Broadway musicals, Gershwin was able to complete the 'Concerto in F' for Piano and Orchestra in November 10, 1925. It was commissioned by the American conductor Walter Damrosch who conducted the premiere in Carnegie Hall later that year featuring the composer as the soloist. The 'Concerto in F' shows considerable development in Gershwin's compositional technique, particularly because he orchestrated the entire work himself. Argentine arranger Martin Jorge transcribed the complete concerto for piano with accompaniment of a Symphonic Wind Orchestra.
SKU: BF.BM797-SCORE
SKU: ML.011727120
Composed at the end of 1982, this concerto is the second work for piano and Symphonic Windband by Serge Lancen. This time the composer has given the work the character of a Rhapsody. The work consists of various episodes that are linked to each other; des.
SKU: ML.011727120-S
SKU: PR.416412340
UPC: 680160092147. 8.5 x 11 inches.
SKU: PR.114417250
ISBN 9781491110928. UPC: 680160631469. 9x12 inches. Key: F.
Concertino in F for English Horn and OrchestraPreviously known only through a spurious edition in G Major, the authentic Concertino in F was recently discovered in Italy by Pedro Diaz, English Hornist of the Metropolitan Opera Orchestra. Diaz prepared this ground-breaking authentic edition through comparison of the multiple historical sources and an intimate knowledge of Donizetti's works. The new edition in F Major is embellished with footnotes regarding sources and ornamentation. The piano reduction and orchestral score and parts (available on rental) were prepared by composer/oboist Mark Biggam in tandem with Diaz's work, and the publication includes extensive historical notes by scholar Michael Finkelman. PEDRO DIAZ joined The Metropolitan Opera Orchestra in 2005 and has performed as solo English Hornist in hundreds of productions. As a sought after teacher, Mr. DÃaz has lectured extensively at top music conservatories including The Juilliard School, The Manhattan School of Music, The Eastman School of Music,The Hartt Music School, and Duquesne University. His international appearances include masterclasses in Panama, Italy, Mexico, Canada, Puerto Rico, Leipzig, Berlin, and Italy.A native of Puerto Rico, he received his early musical training in the “Escuela Libre de Musica,†an esteemed public school for the performing arts. He has performed as a guest artist with the Chicago Symphony, New York Philharmonic, and many other leading ensembles. His playing has been hailed by critics as evocative, eloquent and expressive and is considered one of the pre-eminent players of his generation. Mr. DÃaz has performed Wagner’s Tristan und Isolde 24 times under the batons of James Levine, Daniel Barenboim, and Sir Simon Rattle.Pedro DÃaz’s recording of the Donizetti Concertino in F and other concerti is available from Fox Products and online sources, performed with members of the Metropolitan Opera Orchestra. MARK BIGGAM’s compositions have been recognized in various venues throughout the United States, Central America, Asia, and Europe. He has received awards from ASCAP and the Cleveland Foundation. An oboist himself, many of Biggam’s compositions have been performed by notable oboists and English Horn players including John Mack, Joseph Robinson, Pedro DÃaz, Carolyn Hove, and Dwight Parry. Premieres of his works have been featured at events including the International Double Reed Society and John Mack Legacy Camp.Biggam’s choral works have gained recognition, awards, and commissions from organizations including the Moravian Music Foundation, Ohio BoyChoir, and Triad Pride Men’s Chorus. He also has published arrangements and piano reductions of J.S. Bach’s music for Bärenreiter-Verlag. His collaborations with Pedro DÃaz include the Donizetti Concertino in F as well as works of the lesser-known composers Pilotti and Mares, recorded by Mr. Diaz and members of the Metropolitan Opera Orchestra. Biggam has alsoprepared arrangements and settings of works for symphonic band, which have been performed by the Piedmont Wind Symphony.
SKU: BR.OB-3210-30
ISBN 9790004300749. 10 x 12.5 inches.
Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.