The Boy from New York City

SKU: HL.1105189

UPC: 196288102106. 6.75x10.5x0.036 inches.

Now available for SSAA.This thrilling new arrangement by twin brothers Matt and Adam Podd became an internet sensation shortly after we were all quarantined due to Covid-19. Drawing on friendships in the New York City Broadway, church, and opera worlds, more than 120 world class singers and players came together to create the virtual choir and orchestra. In the final chorus, the arrangers very cleverly turn the iconic phrase “How can I keep from singing?” into “Keep Singing.” A message we all need to hear and remember during times of isolation and at all times.

SKU: CF.SC89L

William Grant Still’s catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 “Afro-American† by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Still’s orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals.This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the “Dean of Afro-American Composers.”The “Black belt” refers to a region in the southern United States that was distinguished by the color of its fertile soil. It was an area whose rich economy was based on cotton and tobacco plantations that were controlled by rich white people and worked by poor black laborers. Still’s piece From the Black Belt from 1926 is presumably a musical representation of these laborers. He described its seven parts in the following ways: William Grant Still’s catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 “Afro-American† by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Still’s orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals.This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the “Dean of Afro-American Composers.”The “Black belt” refers to a region in the southern United States that was distinguished by the color of its fertile soil. It was an area whose rich economy was based on cotton and tobacco plantations that were controlled by rich white people and worked by poor black laborers. Still’s piece From the Black Belt from 1926 is presumably a musical representation of these laborers. He described its seven parts in the following ways: Li’l Scamp If one were to base his judgment on the volume of sound, he would think this little fellow, who delights in playing childish pranks, a big scamp. But the aptness of the title is determined by the brevity of the piece rather than by the volume of sound. Honeysuckle A musical suggestion of the saccharine odor of the honeysuckle. Dance This title is self-explanatory. Brown GirlA tone picture of a lovely girl. Mah Bones Is Creakin’An old man, afflicted with rheumatism, complains loudly. BlueThe lament of a weary soul. Clap Yo’ Han’sThe participants in a game for children form a circle and clap their hands at intervals.

SKU: CF.SC89

ISBN 9781491158852. UPC: 680160917570.

Scori ng: Bass Clarinet in Bb, Bassoon, Clarinet 1 in Bb, Clarinet 2 in Bb, Contrabass, Flute 1, Flute 2, Harp, Horn 1 in F, Horn 2 in F, Horn 3 in F, Oboe, Percussion, Timpani, Trumpet 1 in Bb, Trumpet 2 in Bb, Trumpet 3 in Bb, Viola, Violin 1, Violin 2 and more.

William Grant Stillas catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 aAfro-Americana by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Stillas orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals. This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the aDean of Afro-American Composers.a The aBlack belta refers to a region in the southern United States that was distinguished by the color of its fertile soil. It was an area whose rich economy was based on cotton and tobacco plantations that were controlled by rich white people and worked by poor black laborers. Stillas piece From the Black Belt from 1926 is presumably a musical representation of these laborers. He described its seven parts in the following ways:   William Grant Stillas catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 aAfro-Americana by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Stillas orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals. This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the aDean of Afro-American Composers.a The aBlack belta refers to a region in the southern United States that was distinguished by the color of its fertile soil. It was an area whose rich economy was based on cotton and tobacco plantations that were controlled by rich white people and worked by poor black laborers. Stillas piece From the Black Belt from 1926 is presumably a musical representation of these laborers. He described its seven parts in the following ways: Lial Scamp If one were to base his judgment on the volume of sound, he would think this little fellow, who delights in playing childish pranks, a big scamp. But the aptness of the title is determined by the brevity of the piece rather than by the volume of sound. Honeysuckle A musical suggestion of the saccharine odor of the honeysuckle. Dance This title is self-explanatory. Brown Girl A tone picture of a lovely girl. Mah Bones Is Creakina An old man, afflicted with rheumatism, complains loudly. Blue The lament of a weary soul. Clap Yoa Hanas The participants in a game for children form a circle and clap their hands at intervals.

SKU: BT.DHP-1094658-130

9x12 inches. English-German-French-Dut ch.

For Cityscapes Jan de Haan used the metropolis of New York, the largest city of the United States, as a source of inspiration. In three movements he manages to capture some of the Big Apple’s defining characteristics, from the breathtaking view of the skyline and the hustle and bustle of Central Park, to the excitement experienced in this glamorous and striking city. Let the magic of New York shine with this dramatic new item for brass band.

Voor Cityscapes heeft de componist zich laten inspireren door de metropool New York, de grootste stad in de Verenigde Staten. Het eerste deel verklankt de skyline van de ‘Big Apple’. De grootse aanblik van onder andere Manhattan,Brooklyn Bridge en het Vrijheidsbeeld staat model voor het pakkende hoofdthema. In deel twee wordt de stemming van het Central Park voorgesteld. Dit immense park in New York is een plek voor ontspanning en vermaak. In het slotdeelvan dit drieluik staat het altijd bruisende Manhattan, bekend om de vele wolkenkrabbers en het financiële centrum, Wall Street, centraal. Een absolute aanrader!

Jan de Haans Quelle der Inspiration für Cityscapes war die Metropole New York, die größte Stadt der Vereinigten Staaten. In drei Sätzen gelang es ihm, einige charakteristische Merkmale des Big Apples“ einzufangen: der großartige Anblick der Skyline von Manhattan, Brooklyn Bridge und der Freiheitsstatue, die Stimmung des berühmten Central Park und das pulsierende Leben in dieser glitzernden, eindrucksvollen Metropole. Absolut hörenswert!

Cityscapes (“Paysages urbains”) est une œuvre inspirée d’une série d’impressions et de paysages de la métropole de New York, la plus grande ville des États-Unis.Dans le premier mouvement, l’impressionnante ligne d’horizon de « La Grosse Pomme » s’étire devant nous. Manhattan, le pont de Brooklyn et la Statue de la Liberté sont l’essence du thème principal. Les dernières mesures de ce premier mouvement font référence la célèbre Symphonie n° 9 dite « du Nouveau Monde » que le compositeur tchèque Antón Dvorák composa lors d’un séjour New York.Le second mouvement est consacré Central Park, l’immense parc new-yorkais construit au XIXe siècle, etdestiné aux loisirs, au divertissement et la relaxation. Plusieurs b timents célèbres, tels que le Metropolitan Museum of Art, jalonnent Central Park.Le troisième et dernier mouvement de ce triptyque dépeint l’esprit bouillonnant de Manhattan, quartier célèbre pour abriter d’impressionnants gratte-ciel et la Bourse de Wall Street. La musique palpite au rythme du trafic intense et suit le tourbillon d’activité tumultueux. Elle décrit également les immenses buildings comme l'Empire State Building.

SKU: PR.144407320

ISBN 9781491135006. UPC: 680160685998.

From the pen of Lauren Bernofsky comes a truly unique contribution to the trombone repertoire – music expressing the joys and challenges of parenthood, through a mother’s eyes. FROM A MOTHER’S JOURNAL is a suite of five movements, Love Letter, A World of Worry, Bedtime Battle, Contentment, and Little Imp, which bubble with warmth, irony, frustration, tenderness, humor … as complex a cocktail of emotions as parenthood itself. The music explores a broad range of trombone techniques, making the 10-minute suite an exciting tour de force for any recital.
The idea for FROM A MOTHER’S JOURNAL originated during car ride from an IWBC conference back to New York City – Nikki Abissi and I were sharing our experiences of the challenges and joys of motherhood, and she said, “Wouldn’t it be cool to have a trombone piece written about all the emotions of motherhood?” There certainly wasn’t one that I knew about! Not long after, she contacted me about writing her exactly that piece.I thought that this was definitely a concept for a piece whose time had come, and I was immediately on board with the project. She sent me some short descriptions of some of her experiences, from the frustration of getting a rambunctious baby to go to sleep at bedtime to the boundless love she felt for not just her baby but her husband, as a father, as well. I wrote each anecdote into a short movement, and the result was a collection of musical vignettes covering a range of moods and textures as well as trombone techniques. Since I, too, am a mother, I filtered her anecdotes through my own lens, and I consider this piece to be not just a biography of Nikki but also my own autobiography.