This is a really practical sight-readable collection of the choicest French organ music by such composers as batiste Charpentier Couperin Dubois Franck Gigout Guilmant and many others.There are gentle pieces suchas Elevation and Cantiluene Religieuse as well as Preludes Postludes Marches and pieces for The Offertory and Communion. In all a wonderfully diverse collection of 50 excellent compositions representingthis important tradition of organ playing.
SKU: HL.329321
ISBN 9781540083432. UPC: 840126905694. 9x12 inches.
134 songs particularly good for auditions have been selected from Volumes 1-7 of the Singer's Musical Theatre Anthology and professionally edited for a 30-40 second ?16-bar? version, retaining the original key.Contents: Ah! Sweet Mystery of Life ? All That Matters ? Almost Real ? Another Suitcase in Another Hall ? Another Winter in a Summer Town ? Art Is Calling for Me ? The Beauty Is ? Bewitched ? Beyond My Wildest Dreams ? A Call from the Vatican ? Can't Help Lovin' Dat Man ? Children of the Wind ? Children Will Listen ? Come to My Garden ? Cry like the Wind ? Daddy's Girl ? Dear Friend ? Falling in Love with Love ? Feelings ? Follow Your Heart ? For the First Time in Forever (Broadway Version) ? From Chopin to Country ? The Glamorous Life ? Glitter and Be Gay ? The Golden Ram ? Gooch's Song ? Green Finch and Linnet Bird ? Hello, Young Lovers ? Home ? Home ? How Lovely to Be a Woman ? I Could Have Danced All Night ? I Don't Know His Name ? I Don't Know What I'd Do Without You ? I Feel Pretty ? I Have a Love ? I Have Confidence ? I Have Dreamed ? I Have to Tell You ? I Know It's Today ? I Wonder What Became of Me ? I'll Know ? I'm Leaving You ? I've Decided to Marry You ? If I Loved You ? If I Were a Bell ? In His Eyes ? In My Life ? Inside Out ? Is It Really Me? ? It Never Was You ? Let Us Be Glad ? Like a Woman Loves a Man ? Listen to Your Heart ? Love, Look Away ? Love Makes Such Fools of Us All ? Lovely ? Make Believe ? Matchmaker ? Migratory V ? Mister Snow ? Moonfall ? Morning Person ? Mr. Right ? Much More ? My Favorite Things ? My Funny Valentine ? My Lord and Master ? My Ship ? My True Love ? My White Knight ? Nelson ? Never ? No One Is Alone - Part I ? No Other Love ? Not a Day Goes By ? Nothing Is Too Wonderful to Be True ? Nothing Stops Another Day ? Old Maid ? On the Steps of the Palace ? Once You Lose Your Heart ? One Boy (Girl) ? One More Kiss ? Only Love ? Out of My Dreams ? People Will Say We're in Love ? Practically Perfect ? Raining ? Raunchy ? Ribbons down My Back ? Rosa's Confession ? The Saga of Jenny ? The Secret Service ? Show Me ? The Simple Joys of Maidenhood ? So in Love ? So Many People ? Some Things Are Meant to Be ? Somebody, Somewhere ? The Song That Goes like This ? Sons of (Fils De) ? Soon ? Speak Low ? Take Me to the World ? Ten Minutes Ago ? Thank Goodness ? That Dirty Old Man ? That'll Show Him ? There's a Small Hotel ? There's Music in You ? Think of Me ? This Is All Very New to Me ? This Place Is Mine ? Till There Was You ? To Build a Home ? Too Much in Love to Care ? Tour de France ? Unexpected Song ? Unusual Way ? Vanilla Ice Cream ? Waiting ? Waitin' for My Dearie ? What More Do I Need? ? When Did I Fall in Love ? When He Sees Me ? When There's No One ? Where or When ? When Was I Born? ? Will He Like Me? ? Will You? ? Wishing You Were Somehow Here Again ? With You ? Without You ? The Wo.
SKU: HL.1115719
ISBN 9781705179789. UPC: 196288105688. 6.75x10.5 inches.
This six-minute setting of the Evening Canticles by Frances-Hoad is for mixed chorus a cappella. It was written by the composer with support from the 2021 Visiting Research Fellowship in the Creative Arts at Merton College, Oxford.
SKU: CF.WF228
ISBN 9781491153529. 9 x 12 inches.
Compiled and edited by Amy Porter, Treasures for Flute and Piano is acollection of Philippe Gaubert’s shorter works for flute and piano. Gaubertwas a multi-talented musician, a marvelous flutist as well as a composer,teacher, and master conductor. Over his lifetime, he became one of the mostimportant musical figures in France between the World Wars in the first halfof the 20th century. Trained in theory and harmony at the Paris Conservatory,Gaubert was also deeply influenced by other composers at the time, includingDebussy, Fauré, and Dukas. Editor Amy Porter is a distinguished Professorat The University of Michigan School of Music, Theatre & Dance, and hasbeen praised by critics for her exceptional musical talent and her passion forscholarship. This edition represents eleven of the sixteen works from AmyPorter and Dr. Penelope Fischer’s video study guide, “The Gaubert Cycle: TheComplete Works for Flute and Piano by Philippe Gaubertâ€.Philippe Gaubert (1879–1941) was a very important teacher and flutist in our classical flute playing lineage. In this edition we have gathered his beautiful, shorter compositions for flute and piano all in one place, to be cherished as “Gaubert’s Treasures.â€Philippe Gaubert personified the modern French school of flute playing as introduced by his teacher Paul Taffanel (1844–1908) at the Paris Conservatory. Gaubert was a multitalented musician, a marvelous flutist as well as a gifted composer, teacher and master conductor. Over his lifetime he became one of the most important musical figures in France between the World Wars in the first half of the twentieth century. Gaubert’s musical andpedagogical gifts to us are passed along through generations of students and continue to touch the hearts of many who listen to his fine, and refined, music.Philippe Gaubert studied composition at the Paris Conservatory with Raoul Pugno, Xavier Leroux, and then for a brief time with Charles Lenepvu. It was after this study that he won the famous Prix de Rome second prize in composition. Even with his schooling of theory and harmony in Paris, he was deeply influenced by other composers of the time, namely Debussy, Fauré and Dukas. Between the years of 1905–1914 Gaubert’s early workswere arrangements and short pieces written for the year-end final exam pieces at the Conservatory.Between 1914–1918 Gaubert served in the French Army during World War I, most notably in the battle of Verdun in 1916. This was considered one of the largest battles against the Germans in WWI. He was wounded but his creativity level was not dampened. He was rewarded for his service and awarded medals for his bravery. It was during this time that he found the energy to compose his Deux Esquisses or 2 Scenes, and sketched out his first flute sonata.Gaubert composed his remaining five flute and piano works after 1922 in Paris, and clearly his poetic soul was transformed from the earlier years. He took in new forms and styles of compositions such as a Suite, a Ballade and a Sonatine. He also completed his Second and Third Sonatas for Flute and Piano, all of them dramatic works in terms of compositional techniques and grandeur of tone.Gaubert composed music easily throughout his lifetime, especially during summer breaks when the orchestra and Paris Opera seasons were on hiatus and he was not conducting. He loved literature and poetry which inspired over thirty vocal works from 1903 through 1938.He also wrote twenty-six instrumental chamber works for other instruments: oboe, cornet, clarinet, trombone, violin, viola, cello, harp and combinations of these instruments with piano. Some of these were commissioned jury pieces, but many were for his musician friends.Six full-length stage works, both ballets and operas for the stage, several tone poems and symphonies were written throughout his lifetime.This edition represents eleven out of the sixteen works from our video study guide “The Gaubert Cycle: The Complete Works for Flute and Piano by Philippe Gaubert†with guest pianist Tim Carey. Omitted in this edition are Sonatas Nos. 1–3, Ballade, and Sonatine.
SKU: CA.2100415
ISBN 9790007197728. Language: Latin.
The Requiem was composed during Campra's tenure as the director of music at the cathedral of Notre Dame. It was commissioned for a service in memory of the deceased Archbishop of Paris. At the end of the 18th century it became a tradition in southern France to perform movements of Campra's Requiem during funerals or at memorial services: There is evidence from as late as 1805 which verifies this practice. The scoring of this work is remarkable, in that it calls for four groups of performers: a five-voice Grand Choeur, a 2-3 voice Petit Choeur, three vocal soloists as well as an instrumental group designated as a Symphonie.. Score and part available separately - see item CA.2100400.
SKU: PR.114423380
ISBN 9781491135129. UPC: 680160686988.
Inspired by her friends’ beatboxing and exploration of jazz, flutist Chris Potter joins the fun and brings us along in this introduction to swing rhythm and the basics of beatboxing. Playing off the multiple meanings of “mode†and “à la modeâ€, Dr. Potter fashionably explores a world of varied scales and modern percussive sonorities where the ch- ch- ch- beatboxing attack leads players to chant about ch-ch-chocolate!.A Few Words from ChrisThis title came to me out of nowhere at 4 AM one morning, and I just had to write a piece to go along with it! I love words with multiple meanings, and “mode†has three!The French term à la mode means in a current, fashionable style: in other words, popular. The alto flute certainly fits that description!For Americans, the phrase is used when describing the dessert pie à la mode, meaning pie with ice cream, typically vanilla. Pie à la mode has an interesting history! The phrase and the American dessert is attributed to John Gieriet. He was born in Switzerland, later moved to France, and must have studied cooking because two years after moving to the U.S. in 1854, Gieriet was put in charge of all the food service at the White House. He served under two presidents, Franklin Pierce and James Buchanan. When that job ended, he moved to Duluth, Minnesota and bought a hotel. In 1885, a menu for the hotel offered a dessert called pie à la mode, the first time this phrase had appeared in print. Originally it was blueberry pie with vanilla ice cream.In music, the term mode means a series of notes that have an identifiable pattern of intervals encompassing an octave. Major and minor scales are modes, as are other scale forms such as pentatonic, dorian, phrygian, and lydian. ALTO À LA MODE uses three modes, all based on D. In this piece, you will find the D blues scale (D F G Ab A C D), the D dorian (D E F G A B C D), and the D minor natural form (D E F G A Bb C D).In addition to the three melodic modes, I wanted a rhythmic idea or two to unify the piece. I decided touse the rhythms of the word vanilla: three short notes with emphasis on the second note, and chocolate: two short notes with emphasis on the first note. Also please notice that the spoken syllable cha is the beginning sound of chocolate! All this and no calories!I credit my fabulous friend Ali Ryerson for the jazz influence, and the wonderful composer Nicole Chamberlain for the beatboxing inspiration.
