SKU: CF.AS144
ISBN 9781491160602. UPC: 680160919192.
Often referred to as the Dean of African American Composers, William Grant Still's illustrious career contained many ground-breaking achievements. Following the massive success of his critically acclaimed Symphony No. 1, the Afro-American Symphony (1930), Still's Symphony No. 2 was premiered in 1937 by the Philadelphia Orchestra under the direction of conductor Leopold Stokowski. The work, subtitled Song of a New Race, infuses elements of blues and jazz into the classical form, creating a uniquely blended sound to reflect Still's vision of an increasingly diverse American culture. Slow, dreamy themes are expressed through lush harmonies utilizing thick textures along with solo and divisi playing. The tension between traditional and jazz idioms is felt in the push and pull of shifting tempo and tonality. Originally composed for Full Orchestra, this slightly abridged version for String Orchestra includes the original harp part, honoring the legacy of one of America's greatest composers.Often referred to as the Dean of African American Composers, William Grant Still's illustrious career contained many ground-breaking achievements. Following the massive success of his critically acclaimed Symphony No. 1, the Afro-American Symphony (1930), Still's Symphony No. 2 was premiered in 1937 by the Philadelphia Orchestra under the direction of conductor Leopold Stokowski. The work, subtitled Song of a New Race, infuses elements of blues and jazz into the classical form, creating a uniquely blended sound to reflect Still's vision of an increasingly diverse American culture. Slow, dreamy themes are expressed through lush harmonies utilizing thick textures along with solo and divisi playing. The tension between traditional and jazz idioms is felt in the push and pull of shifting tempo and tonality. Originally composed for Full Orchestra, this slightly abridged version for String Orchestra includes the original harp part, honoring the legacy of one of America's greatest composers.Often referred to as the Dean of African American Composers, William Grant Still's illustrious career contained many ground-breaking achievements. Following the massive success of his critically acclaimed Symphony No. 1, the Afro-American Symphony (1930), Still's Symphony No. 2 was premiered in 1937 by the Philadelphia Orchestra under the direction of conductor Leopold Stokowski. The work, subtitled Song of a New Race, infuses elements of blues and jazz into the classical form, creating a uniquely blended sound to reflect Still's vision of an increasingly diverse American culture. Slow, dreamy themes are expressed through lush harmonies utilizing thick textures along with solo and divisi playing. The tension between traditional and jazz idioms is felt in the push and pull of shifting tempo and tonality. Originally composed for full orchestra, this slightly abridged version for string orchestra includes the original harp part, honoring the legacy of one of America's greatest composers.Often referred to as the “Dean of African American Composersâ€, William Grant Still’s illustrious career contained many ground-breaking achievements. Following the massive success of his critically acclaimedSymphony No. 1, the Afro-American Symphony (1930), Still’s Symphony No. 2 was premiered in 1937 by the Philadelphia Orchestra under the direction of conductor Leopold Stokowski. The work, subtitled “Song of a New Raceâ€, infuses elements of blues and jazz into the classical form, creating a uniquely blended sound to reflect Still’s vision of an increasingly diverse American culture. Slow, dreamy themes are expressed through lush harmonies utilizing thick textures along with solo and divisi playing. The tension between traditional and jazz idioms is felt in the push and pull of shifting tempo and tonality. Originally composed for full orchestra, this slightly abridged version for string orchestra includes the original harppart, honoring the legacy of one of America’s greatest composers.
SKU: CF.AS144F
ISBN 9781491160893. UPC: 680160919499.
Often referred to as the Dean of African-American Composers, William Grant Still's illustrious career contained many ground-breaking achievements. Following the massive success of his critically acclaimed first symphony, Afro-American Symphony (1930), Still's Symphony No. 2 was premiered in 1937 by the Philadelphia Orchestra under the direction of conductor Leopold Stokowski. The work, subtitled Song of a New Race, infuses elements of blues and jazz into the classical form, creating a uniquely blended sound to reflect Still's vision of an increasingly diverse American culture. Slow, dreamy themes are expressed through lush harmonies utilizing thick textures along with solo and divisi playing. The tension between traditional and jazz idioms is felt in the push and pull of shifting tempo and tonality. Originally composed for full orchestra, this slightly abridged version for string orchestra includes the original harp part, honoring the legacy of one of America's greatest composers.Often referred to as the “Dean of African-American Composers,†William Grant Still’s illustrious career contained many ground-breaking achievements. Following the massive success of his critically acclaimedfirst symphony, Afro-American Symphony (1930), Still’s Symphony No. 2 was premiered in 1937 by the Philadelphia Orchestra under the direction of conductor Leopold Stokowski. The work, subtitled “Song of a New Race,†infuses elements of blues and jazz into the classical form, creating a uniquely blended sound to reflect Still’s vision of an increasingly diverse American culture. Slow, dreamy themes are expressed through lush harmonies utilizing thick textures along with solo and divisi playing. The tension between traditional and jazz idioms is felt in the push and pull of shifting tempo and tonality. Originally composed for full orchestra, this slightly abridged version for string orchestra includes the original harppart, honoring the legacy of one of America’s greatest composers.
SKU: GI.G-10810
ISBN 9781622777167.
The Audition Method for Violin is a must-have for all violinists on the audition circuit. Bowings, fingerings, and, most importantly, David Kim’s personal insights and detailed instructions for every passage—not to be missed! —Marin Alsop   Chief Conductor   Vienna Radio Orchestra, Ravinia Festival  The Audition Method for Violin is for aspiring and established violinists looking to win orchestral auditions. This book can be used throughout the entire process of preparing for an audition, including at the audition itself. In this volume, David Kim, concertmaster of The Philadelphia Orchestra, provides standard violin audition excerpts in three versions: the excerpt as it appears in the score, a fully annotated version, and a sparsely annotated version to use in the audition. All annotations are made in blue ink for ease of reading. Kim provides detailed instructions for preparing each excerpt as well as an insightful Q & A in which he discusses the ins and outs of auditioning and offers musical and technical advice for violinists. The Audition Method for Violin, the second book in a series co-created by Mark Nuccio and Benjamin Baron, is an invaluable aid that will transform and improve the entire audition experience. Repertoire: Beethoven: Symphonies No. 1, No. 3, and No. 9, Brahms: Symphonies No. 2 and No. 4, Debussy: La Mer, Mahler: Symphony No. 9, Mendelssohn: A Midsummer Night’s Dream, Mozart: Symphony No. 39, Prokofiev: Classical Symphony, Schubert: Symphony No. 2, Schumann: Symphony No. 2, Shostakovich: Symphony No. 5, R. Strauss: Don Juan David Kim has been concertmaster of The Philadelphia Orchestra since 1999, and he regularly performs as a soloist with the orchestra, performs recitals, and engages in teaching residencies every year. He received his bachelor’s and master’s degrees from The Juilliard School and was awarded honorary doctorates from Eastern University and Dickinson College.
SKU: PR.416415150
ISBN 9781598069020. UPC: 680160621743. 9 x 12 inches.
Inspired by the alluring, human-like sound of the Ney (a Persian bamboo flute), Ranjbaran aims not only to highlight the modern flutist’s ability to play agile and brilliant passages, but also to emulate the delicate sound of the Ney, particularly in extended solo passages. The three-movement 27-minute concerto was commissioned by the Philadelphia Orchestra for its principal flutist Jeffrey Khaner. The piano reduction (published separately) was designed by the composer to be practical in recital performances. CONCERTO for Flute and Orchestra has been recorded for Naxos by Érik Gratton with the Nashville Symphony conducted by Giancarlo Guerrero.The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice.  In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions.In writing my flute concerto, I aimed not only to highlight the modern flautist’s ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages.Two prominent characters permeate the first movement of my concerto.  They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively.  The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra.  Apart from these two characters there are moments of mystery, comedy and the grotesque, among others.In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors.  The solo flute is left out in an agitated middle section that references the first movement.  In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp.The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute.  Some of the materials from the earlier movements are presented again with joyous character.  The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy.
SKU: GI.G-317249
ISBN 9781574631760. UPC: 884088662363.
The music performance library is the heart of a musical ensemble, supplying music to performers and information to an entire organization. This essential resource provides step-by-step directions on how to purchase and rent music, catalog new works, distribute and collect parts, store and preserve music, mark bowings, correct errata, locate and choose editions, prepare programs, communicate efficiently, and prepare manuscripts. There is valuable information here for all musicians - music directors, conductors, student librarians, community volunteers, and professional performance librarians - written by librarians from the following organizations: Alabama Symphony · Boosey & Hawkes · Boston Symphony Orchestra · Cleveland Orchestra · Dallas Symphony Orchestra · European American Music · Finnish Music Information Centre · Florida Orchestra · Fort Worth Symphony Orchestra · Glimmerglass Opera · Indianapolis Symphony Orchestra · Interlochen Center for the Arts · Jazz at Lincoln Center · Juilliard School · Kansas City Symphony · Los Angeles Philharmonic · McGill University · Metropolitan Opera · Milwaukee Symphony · Minnesota Orchestra · National Symphony Orchestra · New England Conservatory · New York Philharmonic · Philadelphia Orchestra · San Diego Symphony · San Francisco Ballet · San Francisco Symphony · Seattle Symphony Orchestra · United States Army Field Band · United States Marine Band · United States Military Academy Band.
SKU: PR.466411770
UPC: 680160640850. 9 x 12 inches.
Mississippi I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. Saga of the Mississippi Harl McDonald Born near Boulder, Colorado, July 27, 1899 Now living in Philadelphia The original suggestion for a symphonic work on the subject of the Mississippi came indirectly from the late Booth Tarkington who saw in it color and movement and atmosphere translatable into the terms of music. In the course of time, by the mysterious processes of composers' chemistry, it took shape as a tone-poem of two sections, one representing the rise of the great stream from its primeval geologic sources, the other the human history of the river. Mr. McDonald devised the following verbal outline of the general scheme of his diptych: I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. The first of the two movements, beginning molto andante, is vaguel modal to hint at antiquity. It is built upon the conventional two themes, with an episode, poco piu mosso, misterioso, for prehistoric murk and muck. There are various changes of pace and mood. The second, Allegro ma vigorosamente, prefigures an Indian ceremony. A theme presented by flute, clarinet and bassoon is a Canadian Indian fishing call collected by the late J.B. Beck. A later passage of quasi-Gregorian chant identifies the French and Spanish priests who made the great river their highway. The fishing-call is altered in rhythm and harmony to represent Negro field hands and roustabous. A turbulent close brings all these elemts together in the muddy swirling currents of the Mississippi. The work was begun in the summer of 1945, and was revised and completed in the summer of 1947. Harl McDonald, who is the manager of The Philadelphia Orchestra, has concerned himself with music as an art, as a science and as a business in course of his career. He was born on a cattle ranch in the Rockies, but since his was a musical family, his up-bringing combined piano lessons with ranch life. Years of study and professional experience followed in Los Angeles and in Germany. In 1927 he was appointed lecuter in composition at the University of Pennsylvania and he has since then made is home in Philadelphia. In 1933 under a grant of the Rockefeller FOundation he collaborated with physicists in research dealing with the measurement of instrumental and vocal tone, new scale divisions and the resultant harmonies. In that same year he was named head of the University's music faculty and conductor of its choral organizations. In 1939, having been a member of the Board of Directors for five years, he was appointed manager of The Philadelphia Orchestra. He continus to write, but otherwise his entire attention is now devoted to managerial duties. Chief items in the catalogue of his compositions are four symphonies, three orchestra suites, a half-dozen tone-poems, three concertos and considerable quantity of choral music.
SKU: HL.354338
ISBN 9781705107669. UPC: 840126936964. 9.0x12.0x0.109 inches.
Richard Wilson was born in Cleveland on May 15, 1941. He studied piano with Roslyn Pettibone, Egbert Fischer, and Leonard Shure, andcello with Robert Ripley and Ernst Silberstein. After beginning composition studies with Roslyn Pettibone and Howard Whittaker, he went on in 1959 to Harvard, studying with Randall Thompson, G.W. Woodworth, and principally with Robert Moevs, and graduating in 1963 magna cum laude. Awarded the Frank Huntington Beebe Award for study abroad, he continued studying piano with Friedrich Wührer in Munich, and composition, again with Moevs, in Rome, where he also gave piano recitals. Wilson joined the faculty of Vassar College in 1966. He was appointed to the Mary Conover Mellon Professorship of Music there in 1988, and he has served three times as chairman of the Department of Music. Wilson has been commissioned by the San Francisco Symphony, the American Symphony, the New Juilliard Ensemble, the Koussevitzky Foundation, the Fromm Foundation, Chamber Music America, the Chicago Chamber Musicians, the Walter W. Naumburg Foundation, and the Library of Congress. His works have been heard in such American musical centers as New York, Philadelphia, Washington, Boston, Cleveland, and Los Angeles and at the Aspen Music Festival, but also in London, Berlin, Frankfurt, Zurich, Milan, Amsterdam, Graz, Leningrad, Stockholm, Tokyo, Bogota, and a number of Australian cities. The recipient in 1992 of a Guggenheim Fellowship, he was awarded the Elise L. Stoeger Prize of the Chamber Music Society of Lincoln Center in 1994, the Academy Award from the American Academy of Arts and Letters in 2004, and has served as composer in residence with the American Symphony Orchestra since 1992. Wilson has been praised by 21st Century Music as a “splendidly talented and highly accomplished composer whose music rewards seeking out†and by the New York Sun as “possessed of a hard-won idiom that has grown and developed over the years into a probing blend of wit, classic form, modern harmony, and impressionistic color.†Writing in the New Yorker, Andrew Porter called his String Quartet No. 3 a “richly wrought and unusual composition,†while the New York Times called it “a work of substance and expressivity ... [that] merits a place in the active repertory.â€.
SKU: GI.G-OC05
UPC: 718122203598.
Sanctuary was commissioned by the Michigan School Band and Orchestra Association to commemorate the retirement of H. Robert Reynolds from the University of Michigan. Frank Ticheli selected the title Sanctuary to reflect his great respect and admiration for his former teacher and mentor, Professor Reynolds. “As a personal tribute to Mr. Reynolds, who was a horn player in his early days, I chose the solo horn to be the work’s main musical messenger. The opening prologue grows out of a set of pitches that were derived from the letters of his first name (Harrah), an idea I first used fifteen years ago in Postcard. The word ‘sanctuary’, conjures a rich array of images. It can imply a place of solitude, comfort, rest, prayer, protection. It can suggest a place that is strong and imposing or one that is very small and private. I believe all of these images are suggested at one point or another in the music.†Frank Ticheli Frank Ticheli joined the USC composition faculty in 1991. His music has been described as brilliantly effective, deeply felt, with impressive flair and striking instrumental colors... The Philadelphia Orchestra, Atlanta Symphony, Detroit Symphony and the Dallas Symphony have performed Ticheli's works. He received his doctoral and masters degrees in composition from the University of Michigan. H. Robert Reynolds is the principal conductor of the USC Thornton Wind Ensemble. For 26 years he served as Director of Bands at the University of Michigan, and conductor of the Detroit Chamber Winds and Strings. For further information about Sanctuary, please visit: ManhattanBeachMusic.com or FrankTicheli.com www.musicalmastersdvd.com.
SKU: GI.G-OC04
UPC: 718122203697.
Masters Music DVD Series With Blue Shades, Frank Ticheli realized his strong need to compose a work that would combine his love of early jazz with his own musical style. Frank Ticheli joined the USC composition faculty in 1991. His music has been described as brilliantly effective, deeply felt, with impressive flair and striking instrumental colors... The Philadelphia Orchestra, Atlanta Symphony, Detroit Symphony and the Dallas Symphony have performed Ticheli's works. He received his doctoral and masters degrees in composition from the University of Michigan. H. Robert Reynolds is the principal conductor of the USC Thornton Wind Ensemble. For 26 years he served as Director of Bands at the University of Michigan, and conductor of the Detroit Chamber Winds and Strings. For further information about Blue Shades, please visit www.ManhattanBeachMusic.com or www.FrankTicheli.com. www.musicalmastersdvd.com.
SKU: GI.G-OC02
UPC: 718122203895.
Masters Music DVD Series Completed in the summer of 1991, Postcard was commissioned by H Robert Reynolds in memory of his mother, Ethel Virginia Curry. He requested that the composition not be an elegy commemorating her death, but a short energetic piece celebrating her life. Frank Ticheli joined the USC composition faculty in 1991. His music has been described as “brilliantly effective, deeply felt, with impressive flair and striking instrumental colors…†The Philadelphia Orchestra, Atlanta Symphony, Detroit Symphony and the Dallas Symphony have performed Ticheli’s works. He received his doctoral and masters degrees in composition from the University of Michigan. H. Robert Reynolds is the principal conductor of the USC Thornton Wind Ensemble. For 26 years he served as Director of Bands at the University of Michigan, and conductor of the Detroit Chamber Winds and Strings. For further information about Postcard, please visit ManhattanBeachMusic.com or FrankTicheli.com. www.musicalmastersdvd.com.
SKU: PR.114417570
ISBN 9781491107867. UPC: 680160636013. 9x12 inches.
The famous set of dances by Norway's greatest composer were written for piano duet. Grieg later created a piano solo version, but refused to orchestrate the set. After some study of Grieg and his music, Michael Webster has arranged the four dances for Flute, Clarinet, and Piano in a faithful setting, using the piano duet version as a guide. This lively Grieg classic will be a welcome new addition to performance programs. For advanced performers._______________________________________Text from the scanned back cover:Born in 1944, MICHAEL WEBSTER made his New York recital debut at Town Hall in 1968 with his eminent father, Beveridge Webster, as pianist. In the same year, he won the Young Concert Artists International Competition and succeeded his teacher, Stanley Hasty, as Principal Clarinet in the Rochester Philharmonic, a position he held for twenty years. Webster has performed with the Chamber Music Society of Lincoln Center, the 92nd Street Y, with the Tokyo, Cleveland, Muir, Ying, Enso, and Dover String Quartets, and with the festivals of Marlboro, Santa Fe, Norfolk, Chamber Music Northwest, Angel Fire, Steamboat Springs, Park City, Sitka, Kapalua, Bowdoin, Orcas Island, Skaneateles, La Musica di Asolo, Stratford, Victoria, and Domaine Forget.As soloist he has appeared with many orchestras, including the Philadelphia Orchestra under Aaron Copland and the Boston Pops under John Williams. His travels have taken him as performer and teacher to most of the 50 states, as well as Canada, Mexico,Puerto Rico, Central and South America, Europe, Japan, China, Australia, and New Zealand. Webster was Acting Principal Clarinet of the San Francisco Symphony, and has served on the clarinet and/or conducting faculties of New England Conservatory, Boston University, University of Michigan, and the Eastman School, from which he earned his three degrees. Currently he is Professor of Music at Rice Universityâ??s Shepherd School of Music and Artistic Director of the Houston Youth Symphony, which has won multiple first prizes in national performance competitions.With his wife, flutist Leone Buyse, and pianist Robert Moeling, he plays in the Webster Trio, which has recorded his arrangements on Tour de France and World Wide Webster for Crystal Records. Otherarrangements were recorded for Nami and Camerata Tokyo in Japan with pianist Chizuko Sawa. Webster has also recorded for Albany, Arabesque, Beaumont, Bridge, Centaur, CRI, and New World. He has played at many ClarinetFests for the International Clarinet Association and written a column entitled â??TeachingClarinetâ? in The Clarinet Magazine since 1998. Michael Webster is a Buffet artist-clinician, performing on Buffet clarinets exclusively. NORWEGIAN DANCES (Grieg)Michael Websterâ??s transcriptions for Flute, Clarinet, and Piano have created the core literature for this instrumental genre. Working directly from Griegâ??s original piano four-hands version of the charmingly familiar Norwegian Dances, Webster has given flutists and clarinetists another addition to the ensembleâ??s repertoire.
SKU: PR.114417610
ISBN 9781491107904. UPC: 680160636051. 9x12 inches.
SONATA CHO-CHO-SAN(Based on themes from Puccini’s Madama Butterfly)In the spirit of the great 19th-century opera fantasies for woodwinds, Michael Webster has created a concert trio on the many great arias from Puccini's Madama Butterfly. However, as its name implies, Sonata Cho-Cho-San is not the typical virtuosic operatic potpourri. Rather, it follows the plot, resembling a sonata mirroring Puccini's use of recurring and developing themes. Webster makes the most of the winds as versatile performers - equally suited to deliver Puccini's beautiful vocal writing, and to ornament and embroider the poignant themes in symphonic style. For advanced performers._______________________________________Text from the scanned back cover:Born in 1944, Michael Webster made his New York recital debutat Town Hall in 1968 with his eminent father, Beveridge Webster, as pianist. In the same year, he won the Young Concert Artists International Competition and succeeded his teacher, Stanley Hasty, as Principal Clarinet in the Rochester Philharmonic, a position he held for twenty years. Webster has performed with the Chamber Music Society of Lincoln Center, the 92nd Street Y, with the Tokyo, Cleveland, Muir, Ying, Enso, and Dover String Quartets, and with the festivals of Marlboro, Santa Fe, Norfolk, Chamber Music Northwest, Angel Fire, Steamboat Springs, Park City, Sitka, Kapalua, Bowdoin, Orcas Island, Skaneateles, La Musica di Asolo, Stratford, Victoria, and Domaine Forget.As soloist he has appeared with many orchestras, including the Philadelphia Orchestra under Aaron Copland and the Boston Pops under John Williams. His travels have taken him as performer and teacher to most of the 50 states, as well as Canada, Mexico,Puerto Rico, Central and South America, Europe, Japan, China, Australia, and New Zealand. Webster was Acting Principal Clarinet of the San Francisco Symphony, and has served on the clarinet and/or conducting faculties of New England Conservatory, Boston University, University of Michigan, and the Eastman School, from which he earned his three degrees. Currently he is Professor of Music at Rice University’s Shepherd School of Music and Artistic Director of the Houston Youth Symphony, which has won multiple first prizes in national performance competitions.With his wife, flutist Leone Buyse, and pianist Robert Moeling, he plays in the Webster Trio, which has recorded his arrangements on Tour de France and World Wide Webster for Crystal Records. Otherarrangements were recorded for Nami and Camerata Tokyo in Japan with pianist Chizuko Sawa. Webster has also recorded for Albany, Arabesque, Beaumont, Bridge, Centaur, CRI, and New World. He has played at many ClarinetFests for the International Clarinet Association and written a column entitled “TeachingClarinet†in The Clarinet Magazine since 1998. Michael Webster is a Buffet artist-clinician, performing on Buffet clarinets exclusively.
