SKU: HL.4008607
ISBN 9798350112566. UPC: 196288183174.
This set also includes a Bb Trombone TC solo part. Nico Samitz has been composing for chamber ensembles since his school days. For over ten years he has been writing works in a wide variety of genres for the “BlechReiz BrassQuintett†ensemble, in which he himselfplays trumpet and piano. His field of expertise ranges from classical pieces to jazz and meditative music—and even to pop-oriented compositions. While honing his skills in ear-training and composition at the Mozarteum, Salzburg, Nico became acquainted with a widerepertoire of works as a trumpet player with the Munich Symphony Orchestra, The Munich Philharmonic Orchestra, and the Bavarian State Opera, all of which have influenced his writing style. The driving force behind his creative work is a winning combination of passion, the fun of music-making and a desire to express, through the medium of music, feelings that are difficult to put into words. Like many of his works, Nico composed The Joy of Freedom for the “BlechReiz BrassQuintetâ€. The catchy tune is reworked in a variety of styles throughout the entire work, giving it the quality of a true 'earworm'.
SKU: HL.4008570
ISBN 9798350110715. UPC: 196288180074.
Nico Samitz has been composing for chamber ensembles since his school days. For over ten years he has been writing works in a wide variety of genres for the “BlechReiz BrassQuintett†ensemble, in which he himself plays trumpet and piano. His field of expertise ranges from classical pieces to jazz and meditative music—and even to pop-oriented compositions. While honing his skills in ear-training and composition at the Mozarteum, Salzburg, Nico became acquainted with a wide repertoire of works as a trumpet player with the Munich Symphony Orchestra, The Munich Philharmonic Orchestra, and the Bavarian State Opera, all of which have influenced his writing style. The driving force behind his creative work is a winning combination of passion, the fun of music-making and a desire to express, through the medium of music, feelings that are difficult to put into words. Like many of his works, Nico composedThe Joy of Freedom for the “BlechReiz BrassQuintetâ€. The catchy tune is reworked in a variety of styles throughout the entire work, giving it the quality of a true 'earworm'.
SKU: HL.4008609
ISBN 9798350112580. UPC: 196288183198.
SKU: HL.4007976
Nico Samitz has been composing for chamber ensembles since his school days. For over ten years he has been writing works in a wide variety of genres for the BlechReiz Brass Quintet ensemble, in which he himself plays trumpet and piano. His field of expertise ranges from classical pieces to jazz and meditative music–and even to pop-oriented compositions. While honing his skills in ear-training and composition at the Mozarteum, Salzburg, Nico became acquainted with a wide repertoire of works as a trumpet player with the Munich Symphony Orchestra, The Munich Philharmonic Orchestra, and the Bavarian State Opera, all of which have influenced his writing style. The driving force behind his creative work is a winning combination of passion, the fun of music-making and a desire to express, through the medium of music, feelings that are difficult to put into words. Like many of his works, Nico composed The Joy of Freedom for the BleckReiz Brass Quintet. The catchy tune is reworked in a variety of styles throughout the entire work, giving it the quality of a true “earworm.â€.
SKU: HL.4008606
ISBN 9798350112559. UPC: 196288183167.
This set also includes a Bb Euphonium TC solo part. Nico Samitz has been composing for chamber ensembles since his school days. For over ten years he has been writing works in a wide variety of genres for the “BlechReiz BrassQuintett†ensemble, in which he himselfplays trumpet and piano. His field of expertise ranges from classical pieces to jazz and meditative music—and even to pop-oriented compositions. While honing his skills in ear-training and composition at the Mozarteum, Salzburg, Nico became acquainted with a widerepertoire of works as a trumpet player with the Munich Symphony Orchestra, The Munich Philharmonic Orchestra, and the Bavarian State Opera, all of which have influenced his writing style. The driving force behind his creative work is a winning combination of passion, the fun of music-making and a desire to express, through the medium of music, feelings that are difficult to put into words. Like many of his works, Nico composed The Joy of Freedom for the “BlechReiz BrassQuintetâ€. The catchy tune is reworked in a variety of styles throughout the entire work, giving it the quality of a true 'earworm'.
SKU: HL.4008571
ISBN 9798350110722. UPC: 196288180081.
SKU: HL.4008608
ISBN 9798350112573. UPC: 196288183181.
SKU: HL.4008610
ISBN 9798350112597. UPC: 196288183204.
SKU: HL.287171
ISBN 9781540042095. UPC: 888680902414. 9.0x12.0x0.362 inches. Words & Music by Bryan Adams & Jim Vallance.
16 selections in standard piano/vocal format with the melody in the piano part from this 2018 Broadway musical based on the story of the 1990 film of the same name, composed by Bryan Adams and Jim Vallance. Includes: Anywhere but Here * Don't Forget to Dance * Freedom * I Can't Go Back * Long Way Home * Luckiest Girl in the World * Never Give up on a Dream * On a Night like Tonight * Rodeo Drive * Something About Her * This Is My Life * Together Forever * Welcome to Hollywood * Welcome to Our World (More Champagne) * You and I * You're Beautiful.
SKU: CF.CM9740
ISBN 9781491161203. UPC: 680160919789. Key: Bb major. English. Siegfried Sasson.
Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom... These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the Great War finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he was feeling dull-minded and depressed. Perhaps his time in the trenches was still too recent. One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality. The appearance of suddenly in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush. There are expressive opportunities with so many of the poet's bold choices of action words - burst, winging, and shaken. Then there's alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance. Suddenly/singing (measures 6-7 and 10-11) Find/freedom (measure 21-22) Winging/wildly (measure 23) Setting/sun (measures 47-49) Was/wordless (measures 65-75) Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as O is set apart in the poem by punctuation, I wanted the musical setting - in measure 57 - to honor that feeling of wonder - ...O, but Everyone Was a bird; and the song was wordless; the singing will Never be done. Friends, there is so much good ahead, so much to be excited about. May the singing never be done.Everyone suddenly burst out singingAnd I was filled with such delightAs prisoned birds must find in freedom…These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the “Great War†finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he “was feeling dull-minded and depressed.†Perhaps his time in the trenches was still too recent.One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality.The appearance of “suddenly†in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush.There are expressive opportunities with so many of the poet’s bold choices of action words – burst, winging, and shaken.Then there’s alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance.Suddenly/singing (measures 6-7 and 10-11)Find/freedom (measure 21-22)Winging/wildly (measure 23)Setting/sun (measures 47-49)Was/wordless (measures 65-75)Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as “O†is set apart in the poem by punctuation, I wanted the musical setting – in measure 57 - to honor that feeling of wonder –…O, but EveryoneWas a bird; and the song was wordless; the singing willNever be done. Friends, there is so much good ahead, so much to be excited about.May the singing never be done.
SKU: HL.238676
ISBN 9781495098437. UPC: 888680700409. 9.0x12.0x0.425 inches.
Some of the most famous and enduring songs from “the great American songbook†have been selected and edited especially for singers in this landmark series, with songs from George & Ira Gershwin, Richard Rodgers & Lorenz Hart, Jerome Kern, Cole Porter, Irving Berlin and many others. The music all dates from the 1920s to the early 1960s, in a musical style that pre-dates the rock era. The majority of the songs appear in all four volumes, though some songs are uniquely in the women's volumes or men's volumes. Unlike standard piano/vocal sheet music, the edition does not have the melody in the piano accompaniment, which gives the singer more vocal freedom. Keys have been carefully chosen for each voice type. Each volume also includes a historical note about each song, often citing recording artists who became associated with a song.
SKU: HL.238675
ISBN 9781495098420. UPC: 888680700393. 9.0x12.0x0.424 inches.
SKU: HL.49045437
ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.
On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
SKU: CY.CC2603
Joshua F'it de Battle of Jericho is a well-known African-American spiritual, most likely composed by slaves in the early 19th century. Early versions used the word f'it for fought. The words harken to the biblical story of the Battle of Jericho, where Joshua led the Israelites to victory against Canaanite armies.Put into perspective, Joshua's battle is really against slavery and the desire for freedom, like the themes of so many other spirituals from that era.This rousing arrangement in swing-style for 8-part Trombone ensemble by James Markey is about two minutes in length, featuring the 1st and 8th parts and is for advanced performers.The mp3 sound clip is taken from Mr. Markey's solo Bass Trombone album, on base, and includes star performers including Joseph Alessi, David Finlayson and Lisa Albrecht.
SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.