Endeavor

SKU: HL.44012344

UPC: 888680058685. English-German-French-Dutch.

Spirit of Endeavour is a virtuosic piece of music with a positive musical message. It tells the story of a wind band embracing hard work, friendship, musical excellence, love, marriage and birth, as well as the sad loss of cherished members.Composer Philip Sparke decided to salute the history of the Canadian concert band 'Harmonie de Charlesbourg' with a work that falls into two contrasted sections. One Vision deals with forming the band and the subsequent united desire tocreate an ensemble espousing the idea of musical perfection. The Pursuit of Excellence salutes the 20 years of hard work of the wind band. This concert work ends with a chorale of thefull band, symbolising the fulfilment of a united dream!

Het werk weerspiegelt het verhaal achter de Harmonie de Charlesbourg vanaf het begin in 1993. Dat verhaal kent vele facetten en behelst verschillende aspecten van het menselijk bestaan: hard werk, vriendschap, het streven naar muzikale schoonheid,liefde, huwelijk en geboorte, maar ook het droevige verlies van gewaardeerde leden. Componist Philip Sparke besloot dit alles weer te geven in twee contrasterende delen: het eerste, One Vision, verklankt Francois Dorions vooruitziende blik bij deoprichting van het orkest en de daaropvolgende wens om een ensemble te creeren dat het ideaal van muzikale perfectie zou omarmen. Het tweede deel, The Pursuit of Excellence, is een odeaan twintig jaar van grote inspanningen waardoor de Harmonie deCharlesbourg de nagestreefde doelen heeft kunnen bereiken: inmiddels neemt het orkest een trotse plaats in binnen het muziekleven van Quebec.

Spirit of Endeavour ist ein virtuoses Blasorchesterwerk mit einer positiven Botschaft. Es erzahlt von der facettenreichen Geschichte eines Blasorchesters: harte Arbeit, Freundschaft, musikalische Spitzenleistung, Liebe, Heirat und Geburt undder Verlust geschatzter Mitglieder. Der erste Satz One Vision handelt von der Grundung und dem gemeinsamen Bestreben nach musikalischer Perfektion. The Pursuit of Excellence beschreibt 20 Jahre harter Arbeit der Formation, bevor einChoral das Werk wurdevoll beendet.

Spirit of Endeavour honore l'histoire de l'Harmonie de Charlesbourg depuis sa formation, en 1993. Cette histoire aux multiples facettes embrasse tous les aspects de la vie humaine : le travail, l'amitie, l'excellence musicale, l'amour, lemariage et la naissance, ainsi que la perte douloureuse de membres aimes.

Le compositeur Philip Sparke salue cette histoire avec une oeuvre qui se divise en deux parties contrastees : la premiere, One Vision, reflete la vision deFrancois Dorion lorsqu'il a fonde l'orchestre, ainsi que le desir unanime de former un ensemble epousant l'ideal de la perfection musicale. La deuxieme partie, The Pursuit of Excellence,salue les vingt annees de travail acharne permettant al'Harmonie de Charlesbourg de realiser ses espoirs et de prendre une place de premier plan dans la vie musicale du Quebec.

Spirit of Endeavour (Spirito di impresa) Il compositore Philip Sparke decide di onorare la storia della banda da concerto canadese 'Harmonie de Charlesbourg' con un lavoro che si divide in due sezioni contrastanti. One Vision (Una visione) ha a chefare con la formazione della banda e il conseguente desiderio condiviso di creare un ensemble che abbracci l'idea della perfezione musicale. The Pursuit of Excellence (La ricerca dell'eccellenza) saluta i venti anni di duro lavoro della banda difiati. Questo brano da concerto finisce con un corale dell'intera banda, che simboleggia il compimento di un sogno condiviso.

SKU: XC.DSO2102FS

UPC: 812598037166. 9 x 12 inches.

Composer Sean O'Loughlin continues to inspire students with his dramatic writing, and this string orchestra work is no different. Endeavour is inspired by the brilliant scientists and astronauts that make travel into space possible. Look to the stars with this new work for string orchestra.

SKU: RF.9711-WTCD

SKU: BR.BV-361

Festschrift for Christian Martin Schmidt

ISBN 9783765103612. 6.5 x 9.5 inches.

37 Years of Complete Editions Christian Martin Schmidt, full professor of musicology at the Technische Universitat Berlin, stands like no other for the tangible, musicologically authoritative status of complete editions and of the performance editions derived from them. Schmidt began working at the Schoenberg Complete Edition 37 years ago, right after obtaining his doctorate. In 1992 he was entrusted with the editorial direction of the Mendelssohn Complete Edition, and since 1997 he has been responsible for the musical volumes of the Eisler Complete Edition. With his 65th birthday on 10 November 2007, his friends, students and colleagues have decided to put together this appreciative festschrift with articles related to his main field of endeavor.

SKU: CL.012-3818-01

This exciting new composition contains all the musical elements that you would want your ensemble to experience. A wonderful and moving tribute to our everyday heroes serves as the backdrop for this creative endeavor. The perfect combination of story and music results in a variety of musical settings that are masterfully scored to provide a quality of sound that is both impacting and, at times, highly delicate. It should be noted that a lush heroic theme is interwoven throughout the piece that will undoubtedly inspire members of the audience to sing to themselves as they leave the concert hall. Inspiring!

SKU: CA.221000

ISBN M-007-24681-5.

A compact multi-themed choral collection for unaccompanied mixed chorus - and in the best sense, a best of current song arrangements! With 35 contemporary song arrangements, the choral collection offers the right song for many occasions: for concerts, weddings, and other celebrations, for Christmas time, or even for ending a choir rehearsal with a nocturne. The focus of the collection lies in folk songs, love songs, nocturnes, and Christmas carols. All the song arrangements were composed in the last fifteen years, and were mainly commissioned for Carus choral collections published as part of the LIEDERPROJEKT - the charitable project supporting singing with children. the works of around 30 highly experienced arrangers are brought together in the volume, including Matt hias E. Becker, Ludwig Bohme, Wolfram Buchenberg, Thomas Gabriel, Gunther Martin Gottsche, John Hoybye, Veit Hubner, Burkhard Kinzler, Giacomo Mezzalira, Vytautas Miskinis, Vic Nees, Peter Schindler, Robert Sund, Christoph Schonherr, Jozef Świder and Alan Wilson. Their arrangements reflect the variety of styles - from contemporary arrangements in classic harmonisations to pieces from jazz, pop, folk, and dance music - with which today's composers can breathe new life into traditional melodies and texts. The song repertoire is also distinguished by its wide variety: classics of the German folk song and Christmas carol repertoire (Kein schoner Land, Leise rieselt der Schnee, etc.) are included in the choral collection as well as excursions into the song repertoire of other countries (La vie en rose, Twinkle, twinkle, little star, etc.) All the arrangements are of easy to medium difficulty, so making this new music, with its wide range of styles, accessible to as many choirs as possible. Audio samples of most of the arrangements are available at www.carus-verlag.com/2210 to get to know the works. Complete recordings are available as a separate digital album under the title LIEDER - folksongs for choir on all the popular music platforms. In short, a beautiful-sounding musical treasure trove of outstanding song settings for all sorts of occasions - at an attractive bargain price! 35 song arrangements for unaccompanied mixed choir by leading choral composers well-known tunes in contemporary, fresh styles for concerts, Christmas, weddings and other celebrations, for the end of rehearsals, or as an encore recordings available as a digital album attractive price The many specially commissioned song arrangements underline Carus-Verlag's promotion of new choral music, as impressive an endeavor as the nurturing of the traditional song repertoire. Jan Schumacher.

SKU: CL.RWS-2031-00

A mysterious work, The Sacred Pipe is the musical endeavor of a Native Cherokee myth. Extravagant melodic lines, tender harmonies, fast and intense tempos, and majestic fanfares ensure a film-like experience for the audience. Join the Arrow Woman on her journey through the land, as she fights against the norms of her tribe. The Sacred Pipe hopes to convey a musical journey that engulfs the grandiosity of the land, the majesty of mountains, and the purity of water.

SKU: AU.9781506492452

ISBN 9781506492452. 7x10.25 inches.

Russell Schulz-Widmar's original music is beautifully wrapped around the eloquent poetry of theologian and parish priest, William H. Vanstone (1923-1999). The text speaks of the costly nature of God's love for the world, and reminds us that God is not distant, but deeply involved in all our pain and grief. Scored for two-part mixed choir, the writing is both moving and accessible. Include this anthem during Lent and in services of healing and care.

SKU: M7.ELLI-4140

ISBN 9781559613163. UPC: 052296414023.

A melting pot of rhythms, melodies and sonic textures that promises to be as upöifting to the general listener as it is challenging to the musicians who endeavor to dissect its complex rhythms. A work of poetic beauty. Four frame drums, trombone and violin. Inspired by ancient frame drumming traditions, Glen Velez and Handance create a pan-global rhythmic style drawing on the music of South India, the Middle East, and Central Asia. Rhythmcolor Exotica explores the terrains created by rhythmic cycles of 4,5,7 and even 41 beats. This inventive urban drum clan dazzles with its virtuosity, and with the playful melodic inventions of Art Baron on trombone. Add in tinwhistle, didgeridoo, shaker and conch and you have a one-of-a kind trancy, jazzy, border-crossing celebration. The frame drums played on Rhythmcolor Exotica include Moroccan bendir, North African mazhar and tar, Egyptian riq, and Celtic bodhrán with Arthur Baron, Jan Hagiwara, Eva Atsalis, Yousif Sheronick.

SKU: PR.110418370

ISBN 9781491135075. UPC: 680160686247.

Composed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.