SKU: CF.YPS227F
ISBN 9781491155202. UPC: 680160913749. 9 x 12 inches.
Sandhills Saga was commissioned by the Aberdeen Middle School Band of North Carolina led by Neil P. McCrimmon. The composition opens slowly and quietly with a principal theme presented by the flutes and oboe. The theme is repeated by the alto saxophones and trumpet in canon with the flutes, oboe and clarinets. The head motive of the theme is repeated and imitated, sometimes in inversion, as the A-section comes to a quiet close. The auxiliary percussion instruments play an integral role in creating the delicate colors of the A-section. The trumpets introduce the contrasting Alla marcia section and then are joined by the alto saxophones for a presentation of a syncopated, martial version of the principal theme. The low brass take the lead, in canon with the upper woodwinds, for a repetition of this theme. A quieter (but still syncopated) section provides contrast and leads to the return of the march theme. The low brass lead once again as the upper woodwinds provide an arching countermelody. A brief coda brings the work to a lively close.
SKU: CF.YPS213
ISBN 9781491152324. UPC: 680160909827. Key: Bb major.
In That Quiet Moment was written in memory of the composer's father. Grant Michel's heart-wrenching piece of reflection and sadness from the loss of a parent is rendered more poignant since the untimely passing of the composer himself. It is a wonderful piece to teach students emotional involvement in music and musicianship.
SKU: CF.YPS213F
ISBN 9781491153000. UPC: 680160910502.
SKU: GI.G-8695
UPC: 785147869504. English. Text Source: Henry F. Lyte, 1793–1847, alt., based on Psalm 103.
Lary Visser’s take on lauda anima offers a wide spectrum of musical contrasts, from a spectacular introduction to a quiet interlude between verses 2 and 3. The sophisticated reharmonization of verses 3 and 4 alone are enough to keep this arrangement at your disposal!
SKU: PR.446413410
UPC: 680160667420. 9 x 12 inches.
I wrote this piece with a darker sonority and an emphasis on lyricism, qualities that I associate with the viola. In the first movement, titled Fantasia, the viola begins with a quiet and free cadenza, becoming more passionate until the woodwinds join in dialogue with the soloist. Gradually the rest of the orchestra enters, exploring ideas from the solo cadenza while introducing a new theme that reappears in the last movement. The second movement is a scherzo, mischievous in mood with the orchestra and viola trading barbed jokes. The antics are interrupted by a brass chorale with embellishment from the viola. The scherzo then resumes with prominent contributions from the bassoons. The last movement, titled Nocturne, plays with different kinds of music associated with the night. A sensual and romantic atmosphere gives way to something more menacing and ultimately violent. After a climax from the full orchestra, soft strings and solo viola lead us into the coda, taking an ambiguous idea from the first movement and transforming it into a lyrical and heartfelt prayer. The concerto ends with the solo viola ascending on the crest of an orchestral wave of sound.
SKU: PR.44641341L
UPC: 680160667437. 11 x 17 inches.
SKU: MH.1-59913-072-6
ISBN 9781599130729.
Program Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.
SKU: HP.8384
UPC: 763628183844.
Christmas Musical This Christmas cantata is a faithful retelling of the Christmas story, the gospel, in song and narration, and a wonderful mixture of the new and the old, the traditional and the freshness of the contemporary. The narrations are deep and insightful, demanding much passion and heartfelt emotion. The choir will enjoy these choral arrangements, including one of Jack Schrader's top-selling pieces, Mary, Did You Know? The work makes a strong impact when done with simply choir, piano, and narration; however, full orchestrations are available. Also, the narrations are perfect to suggest the inclusion of costumed actors creating tableaux of the various scenes, so, the work may be fully staged or as simply presented as necessary. Go Tell It! has moments of quiet worship and reflection, as well as the exuberant times of joy and celebration. The congregation is frequently involved, being asked to sing on four occasions, which leads to a satisfying experience for all who participate. Performance time is approximately 39 minutes. The Orchestration contains a full Conductor's Score and parts for: Piano/Rhythm, Bass, Flute, Oboe, Clarinet, Trumpet I, II & III, Horns I & II, E-Flat Alto Sax, Trombones I, II (III), Tuba, Percussion, Timpani, Harp, Violins, Violas, Cellos, Basses.
SKU: CA.4075209
ISBN 9790007220693. Language: German.
Friedhelm Rentzsch, long a cellist in the Dresden Philharmonic, set Psalm 130, whose character of penitence is especially impressive here, through the reduction of the musical forces to a solo alto with orchestral accompaniment, and this in a most unique, urgent manner. Through the addition of a sombre text by Erich Arendt the subective manner of the song is placed in a worldly context encompassing all periods of time. Repeatedly, passages of a quiet character alternate with tutti phases which sometimes climax to passages employing clusters. Score and parts available separately - see item CA.4075200.
SKU: CA.4075214
ISBN 9790007220730. Language: German.
Friedhelm Rentzsch, long a cellist in the Dresden Philharmonic, set Psalm 130, whose character of penitence is especially impressive here, through the reduction of the musical forces to a solo alto with orchestral accompaniment, and this in a most unique, urgent manner. Through the addition of a sombre text by Erich Arendt the subective manner of the song is placed in a worldly context encompassing all periods of time. Repeatedly, passages of a quiet character alternate with tutti phases which sometimes climax to passages employing clusters. Score and part available separately - see item CA.4075200.
SKU: CA.4075213
ISBN 9790007220723. Language: German.
SKU: CA.4075211
ISBN 9790007220709. Language: German.
SKU: CA.4075215
ISBN 9790007220747. Language: German.
SKU: CA.4075212
ISBN 9790007220716. Language: German.
SKU: CA.4075206
ISBN 9790007220686. Language: German.
SKU: CA.4075205
ISBN 9790007220679. Language: German.
SKU: CA.4075200
ISBN 9790007106447. Language: German.
Friedhelm Rentzsch, long a cellist in the Dresden Philharmonic, set Psalm 130, whose character of penitence is especially impressive here, through the reduction of the musical forces to a solo alto with orchestral accompaniment, and this in a most unique, urgent manner. Through the addition of a sombre text by Erich Arendt the subective manner of the song is placed in a worldly context encompassing all periods of time. Repeatedly, passages of a quiet character alternate with tutti phases which sometimes climax to passages employing clusters.
