Matériel : DVD
SKU: PE.EP73145
ISBN 9790577014982. 303 x 232mm inches. English.
The Orgelbüchlein Project is a collective composition project aiming to complete Bach's unfinished manuscript known as 'Orgelbüchlein'. In the 'Little Organ Book', Bach laid out a complete hymnal of short organ chorale preludes, 164 in all, but only completed 46 of them. Why the remaining 118 were left as blank pages, with only a title at the head, remains a mystery, but they inspried organists William Whitehead to found the Orgelbüchlein Project, in which contemporary composers are invited to contribute a piece to completing the collection.The resulting collection, to be published in six volumes, represents a cross-section of the most interesting composers at work today across Europe.More information about the project is available at www.orgelbuechlein.comList of Composers
SKU: UT.QC-5
ISBN 9788881095223. 6.5 x 9.5 inches.
Essays by Louise Benrard de Raymond, Muriel Boulan, Thomas Christensen, Etienne Jardin, Ellen Lockhart, Fabio Morabito, William O'Hara, Alban Ramaut, Annette Richards, Michael B. WardThe nineteenth-century composer has a persistent image problem: inspired, unworldly, male, writing works of genius for posterity. If it has been the project of musicologists for the last 30 years to erode this checklist, he lingers still like a bad smell. This book uses Antoine Reicha (1770-1836) as a case study through which to develop alternative approaches to the nineteenth-century composer. That Reicha was a composition teacher and prolific writer of instruction manuals, for example, provides an opportunity (and new types of sources) to focus on composers' attempts at becoming composers. How can we catch them 'in the making', exploring not a body of works and achievements, but the priorities and anxieties of these individuals (the knowledge they followed or created) in crafting their artistic identities for the public? What modes of music historiography and analysis might help explore Reicha's and his contemporaries' music beyond mapping it within local or national traditions and their transfer? Can a networked model of music-history writing - we might call it 'a history of music with no protagonist' - assist musicologists in working on non-canonical composers without retrospectively making monuments out of them? These and other questions frame this volume, in order not only to reassess Reicha, but also our disciplinary toolkit: to ask how/why/to what end we tell stories about composers in musicology more generally.
SKU: CF.W2693
ISBN 9781491158586. UPC: 680160917198. 9 x 12 inches.
While unknown today, composer William Pettee (1839a1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880a1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (atuba soloa spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwellas Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Petteeas Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839-1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880-1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (tuba solo spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell's Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee's Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839–1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880–1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra.Olosabut (“tuba solo†spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell’s Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee’s Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.
SKU: LM.JJ11279
ISBN 9790230811279.
SKU: LM.JJ19688
ISBN 9790230819688.
SKU: PR.312418590
UPC: 680160595785. 8.5 x 11 inches. Text by Chen Yi.
Often called the Ellis Island of the West, Angel Island in San Francisco was used as an immigration station in the first half of the 20th century, processing some one million Asian immigrants. Because of U.S. policy of the time, many spent years on Angel Island awaiting entry. Recently named a National Historical Landmark, Angel Island and its history is the inspiration behind Chen Yi's Angel Island Passages, commissioned by the San Francisco Girls Chorus. Chen explores the experiences of the immigrants, even using poems carved in the walls, to express the mood, the patient yearning, and the ultimate release and embrace of a new country. Angel Island Passages was premiered June 4-5, 2010 by the SFGC and the Cypress String Quartet at the San Francisco Conservatory. For advanced performers. Duration: 15'.Commissioned by San Francisco Girls Chorus (Executive Director Melanie Smith), and premiered by the SFGC and Cypress String Quartet on June 4, 2010, conducted by SFGC’s Artistic Director Susan McMane, at San Francisco Conservatory, CA, the 3-movement song cycle Angel Island Passages is written for children’s chorus and string quartet, with multimedia projection on the walls of the concert hall, produced by visual artist Felicia Lowe. The creative idea of this work was initiated by Dr. McMane, who invited me to write the music, and sent me the book “Island, poetry and history of Chinese Immigrants on Angel Island, 1910-1940â€, by Him Mark Lai, Genny Lim, and Judy Yung for reference in 2009; also inspired by the Angel Island stories, and through cooperation with Felicia, who shared with me her film “Carved in Silence†and video productions “Chinatown†and “Road to Restorationâ€.I named the first movement of my work as “1882â€, which reflected the dark mood under the Chinese Exclusion Act of 1882. The collective poems carved on the wooden walls in Angel Island expressed deep emotion in sorrow and anxiety. The music in the second movement “Longing†is sad and sentimental. The third movement is called “We Are Americaâ€, which is ever-moving, energetic and optimistic. The text sung in the beginning in Chinese means “I am an Americanâ€. It’s sung in Cantonese dialect, then in Mandarin. As the music develops, from homophonic to polyphonic with increasing layers, the climax is reached when the text is turned to English “We Are Americaâ€, which symbolizes the flourishing society with the great contribution from thousands of immigrants during the years. The music fades out towards the ending of the work, which pushes the scene to a remote picture, to look forward to the future peace of the world.I am grateful to have the opportunity to work with such inspiring creative artists in this project, and hope the work is meaningful to our new society after the premiere performance.—Chen Yi.
SKU: SU.80209801
Suitable for concert or worship (esp. All Saints) 1111; 2221; timp, perc, hp, cel; stgs Duration: 30'15 Text: adapted from the New Testament by Jane Griner Published by: Dunstan House Also available for sale: Two churches, one Presbyterian, one Methodist, located in two adjacent states, wanted to commission a major work for chorus and orchestra to use in a memorial service held annually near the feast of All Saints, but felt that, considering the costs involved in hiring an orchestra for the performance, they couldn’t also afford the commissioning fee which an extended work would necessitate. Composer Daniel E. Gawthrop put the two directors in touch with each other, and a joint commission was conceived. Originally, the plan called for two completely separate premières, one at each church, but as the directors consulted on musical matters they decided that it would add an element of ecumenism and outreach to the project if they joined the two choirs together for both performances. Accordingly, on the first of the two Sundays the South Carolina Presbyterians joined the North Carolina Methodists in their Sunday morning services to sing the première of Behold This Mystery. On the following Sunday the travel was reversed for the second première. The involved choirs, congregations, clergy and directors all declared the project a triumph. Further performances followed, and the piece has now earned a place in the small but distinguished category called Twentieth Century Extended Works for Chorus and Orchestra Which Have Received More Than One Performance. Behold This Mystery is suitable anywhere that you might program a requiem, e.g., either in concert or within the context of a worship service. It lasts about 27 minutes in performance. Soprano and Baritone soloists are called for, although a Tenor may be substituted for the (rather high) Baritone part if needed. The choral parts are not terribly difficult but this is an extended work, probably equivalent to five or six typical anthems. Instrumental parts are not virtuosic; collegiate and professional ensembles should have no trouble preparing the piece with only a few rehearsals. Minimum order quantity: 8 copies. Perusal copies are available by contacting office@DunstanHouse.com (include the organization name with your request). To order quantities fewer than 8.
SKU: GI.G-9225
ISBN 9781622772094.
Vete ran band director David Vandewalker has been successfully empowering school parent organizations across the country for years. In Boosters to the Rescue! he offers practical tools to modernize your program into a 21st-century booster organization that can function as a successful small business and significantly support the school music and arts programs. In clear, concise language, Vandewalker lays out an action plan that includes how to: • Learn to be articulate in sharing your vision • Enlist an army of volunteers • Develop project plans • Define a composite list of duties, tasks, and responsibilities • Communicate • Determine personal strengths and personality traits • Create a business plan model • Make project notebooks • Provide support, encouragement, and praise  Boosters to the Rescue! goes beyond ideas and plans with online links to ready-to-use Word, Excel, and PDF files that are easy to customize and print. These reproducible tools will save you time, and enable and empower you to build an amazing team of people dedicated to musical excellence!
SKU: PR.165001000
ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.
Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title.This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.
SKU: PR.16500100F
ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.
SKU: BR.EB-4342
ISBN 9790004162873. 9 x 12 inches.
Whereas in past decades Urtext editions with assorted aspirations and readings by various editors were the primary points of departure in addressing Beethoven's piano sonatas, today it is more often the question of what significance so-called instructive editions have in the history of interpretation, what additional benefit is generated from them, and wherein lies their legitimacy. Unlike his teacher Hans von Bulow in his edition of the sonatas, Lamond did not allow any intervention in the music text per se. His indications give instead interpretive approaches, additionally inspiring today's musicians in the realization of the musical composition. By the beginning of the 20th century he was a successful and celebrated pianist, concertizing in the US and across much of Europe. He repeatedly caused a stir with his Beethoven projects such as performing sixteen sonatas as well as the Diabelli and Eroica variations within four days at the Queen's Hall in London (1925). Dating from this period is also his edition of Beethoven's 32 piano sonatas that first appeared from Breitkopf & Hartel in 1923. Frederic Lamond thus epitomizes Beethoven interpretation. Even today his name is still associated primarily with Beethoven. The present ,,Instructive Edition of Beethoven's 32 Piano Sonatas is a part of the ,,Breitkopf Originals series on the occasion of Beethoven's 250th Birthday in 2020. Apart from the established Urtext editions, this reissue opens up a fascinating view on the interpretation- and performance practice of one of the most important Beethoven interpreters in the 19th and 20th century.The Scotsman and his Beethoven - The 32 Piano Sonatas in the Instructive Edition, edited and supplied with fingerings by Frederic Lamond.
SKU: BR.EB-4341
ISBN 9790004162866. 9 x 12 inches.
SKU: HL.9971239
ISBN 9781423461845. UPC: 884088270995. 8.5x11 inches. Patrick Bolek/Norma Freeman/Linda Rann.
We are pleased to announce the launch of the Leonard Bernstein Young People's Classics, a new series for the music classroom that presents essential selections from the Leonard Bernstein recorded library with units of study built around them. The first in this series features some of the more popular works of Aaron Copland, including Fanfare for the Common Man, and his ballets Billy the Kid, Appalachian Spring and Rodeo.Make music listening engaging and active with beautifully-designed full-color listening maps, easy-to-follow lesson plans and full-length recorded orchestral versions of Copland's music. Included in the Classroom Kit is the Bernstein Century Copland CD featuring Leonard Bernstein conducting the New York Philharmonic. The Enhanced CD in the Teacher book contains audio folksong recordings, full-color PDFs of the student booklet, student handouts and bonus materials, all for duplication or projection.Part II features an in-depth study of Copland's ballet Rodeo, specifically “Hoe-down,” based on the Artful Learning transformative learning system inspired by Leonard Bernstein. Working together in learning centers, students engage in cross-curricular activities that are incorporated into the music lessons. Available separately: Teacher Book/Enhanced CD, Student Book 5-Pak, the Bernstein Century Copland CD, and a Classroom Kit (1 Teacher Edition/Enhanced CD, 20 Student Books, 1 Copland CD). Suggested for Grades 5-9.
SKU: HL.49046449
ISBN 9781540095688. UPC: 841886023383.
No.42 (In the Alps) could perhaps best be described as a melodrama. It combines many of the subjects that fascinate me: the relationship of text narrative and musical narrative, the history of opera, early cinema, the theatrical practices of the nineteenthcentury, along with the folk and popular music of the Alpine region. A girl (the soprano), stranded on top of an un-climbable mountain peak as a young baby, is taught to sing by the mountain animals. Young Bobli lives in the village far below the un-climbable peak. He was born mute and communicates with the world by playing the trumpet. Bobli hears the soprano's song drifting down into the valley. The soprano listens to Bobli's trumpet tunes blown up to her by the wind. They are both enchanted. The three acts are separated by interludes describing how three animals experience time passing in relation to a musical tempo. Like any self respecting melodrama the text and music combine to depict or imply a wide ranging theatrical adventure, in this piece starting at the Creation (or the big bang), a lonely existence, scenes of rustic village life, some carpentry, many mountain goats, unrequited love, and ending in a quest destined to fail. In a live performance the text [provided with the performance material] isto be projected on a screen behind the musicians in the style of silent movie intertitles. Richard Ayres.
SKU: PE.EP67458
ISBN 9790300740171. 297 x 420mm inches.
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About Peters Contemporary Library
Ma rk AndreMilton BabbittDaniel BjarnasonEarle BrownJohn CageHenry CowellJames DillonJonathan DoveBrian FerneyhoughRoxanna PanufnikRebecca SaundersErkki-Sven TuurCharles Wuorinen These are just a few of the composers whose most adventurous scores are now available to purchase through the Peters Contemporary Library. A new global initiative of the Edition Peters Group, the Peters Contemporary Library is a project designed to put these bold 20th- and 21st-century works, once available only for rental, into the collections of libraries, performers, scholars, and conductors alike. Kicked off in 2016, the Peters Contemporary Library already contains many cutting-edge works and is constantly expanding. We are proud to offer these bold new scores for sale, for the first time ever, to modern musicians and students of music all around the world.
