Symphony No.2 the Resurrection

SKU: CY.CC2708

The Chorale from the Finale of Symphony No. 2 (Resurrection) by Gustav Mahler is taken from the fifth movement, lasting over an hour. The Chorale is actually a quote from the Dies Irae, which Mahler called the march of the dead. Also added in is the Resurrection theme which is almost a fanfare. This excerpt from the Symphony features the low brass which makes this arrangement by Randall Malmstrom so meaningful.

For advanced performers, this work will add another dimension to your concert.

SKU: CY.CC2825

Urlicht (Primal Light), beautifully arranged for 9-part Brass ensemble & Glockenspiel by Jim Pugh, is taken from the 4th movement of Gustav Mahler's Symphony No. 2 Resurrection. The text, which is also used in Mahler's Das Knaben Wunderhorn talks about the desire of returning to God for an eternal, blissful life.

Mahler's music is magical, evoking ecstatic sadness, transporting the listener into another dimension.

The arrangement features the 1st Horn part, which takes over the Alto vocal solo and is about 4 minutes in length and is appropriate for advanced performers.

Instrumentation is:
3 Trumpets in B-flat (3rd doubles on Piccolo)
2 Horns
2 Trombones
Bass Trombone (Euphonium or F-Tuba)
Tuba
Glockenspiel.

SKU: TM.09183VS

SKU: TM.09183SET

Wunderhorn Songs (low). 4 horns and 4 trumpets are off-stage. Timp II and III together on same part. Clothbound score.

SKU: SU.92090242

The Eastman Wind Ensemble is America's leading wind ensemble. Frederick Fennell first formulated the general concept of the wind ensemble at Eastman nearly 65 years ago. Under his leadership the group became known as the pioneering force in the wind ensemble movement in the United States and abroad. A. Clyde Roller served as conductor between 1962 and 1964, continuing the tradition established by Fennell. Donald Hunsberger became conductor in 1965 and led the ensemble for 37 years to international prominence. The ensemble's current director, Mark Davis Scatterday, was introduced as the fourth conductor of this prestigious group during the EWE's 50th anniversary celebration on February 8, 2002. Since its founding, the EWE has been the leader in elevating the wind repertory through recordings. Fennell's Mercury Recordings albums of the 1950s and early '60s are notable for their pioneering use of binaural, stereo, and 35mm recording techniques. These Living Presence recordings focused on standard band literature by the most respected classical composers -- heard for the first time in the newly balanced one-per-part instrumentation. They also centered on major repertory not found on traditional band programs, such as Mozart's Serenade in B-flat (the Gran Partita), Messiaen's Et exspecto resurrectionem mortuorum, and Stravinsky's Symphonies of Wind Instruments. Under Hunsberger, the EWE continued its progressive stance in recording techniques with participation in quadraphonic and digital recording. Since its founding, the ensemble has premiered more than 200 new works. The EWE and Mark Scatterday have continued this rich recording tradition with several CDs starting in 2005 with Danzante (featuring trumpet virtuosi James Thompson) on Summit Records. Track Listing Fandangos Sinfonia No 3 La Salsa: 1. Tumbao Sinfonia No 3 La Salsa: 2. Habanera Sinfonia No 3 La Salsa: 3. Danzas Sinfonia No 3 La Salsa: 4. Jolgorio Fanfarria Diferencias: 1. Fanfarria Diferencias: 2. Sonoro Diferencias: 3. Ritmico Diferencias: 4. Sonoro Diferencias: 5. Vigoroso The Phoenix from Carnaval.

SKU: CA.2729303

ISBN 9790007171797. Text language: Latin.

Antonin Dvorak's impressive Stabat Mater for soloists, chorus and orchestra is probably the best-known of the composer's sacred works. Some painful experiences - in 1875 his first daughter died, and in 1877 he lost two other children in quick succession - may have led to Dvorak's preoccupation with the suffering of the Mother of God, who stands weeping beneath the cross of her son. The music enters into the different moods of the liturgical texts with great sensitivity. Nine movements in slow to moderate tempi serve as a kind of Passion meditation, before the ecstasy of a vision of the resurrection wins the upper hand at the end of the tenth movement. With our newly-published arrangement for chamber orchestra (flute, oboe, clarinet, horn, bassoon, timpani, and strings), smaller choirs now have the opportunity of performing this work without the choir being drowned out by a large-scale symphony orchestra. The symphonic character of the work is nevertheless preserved. This scoring offers an optimal balance between transparency and orchestral sound. All vocal parts (soloists and chorus) are identical with the original version. Vocal score and choral score can be used also together with the original version, which is in preparation.