The Pines of Rome

SKU: HL.4001567

UPC: 884088065492. 9.0x12.0x0.029 inches.

James Curnow's adaptations of classic works for younger groups have become standard literature for many directors who seek the highest quality works for their younger groups. This edition of Respighi's famous finale to the Pines Of Rome is a real gem, putting the original's power and majesty within the reach of most bands.

SKU: AP.49438S

ISBN 9781470650575. UPC: 038081571355. English.

All the shrouded mystery and resplendent grandeur of the fourth movement of Respighi's masterpiece, Pines of Rome, has been effectively captured in this brilliant arrangement by Douglas E. Wagner for string orchestra and timpani (required). The symphonic poem, The Pines of the Appian Way is one of Respighi's most frequently performed and recorded works and stands as the most popular of all three of his Rome-inspired suites. (4:50).

SKU: AP.49438

ISBN 9781470650568. UPC: 038081571348. English.

All the shrouded mystery and resplendent grandeur of the fourth movement of Respighi's masterpiece, Pines of Rome, has been effectively captured in this brilliant arrangement by Douglas E. Wagner for string orchestra and timpani (required). The symphonic poem, The Pines of the Appian Way is one of Respighi's most frequently performed and recorded works and stands as the most popular of all three of his Rome-inspired suites. (4:50) This title is available in MakeMusic Cloud.

SKU: CY.CC2704

--Ottorino Respighi's Pines of Rome is one of the most colorful orchestral canvases.

--The final movement of the 4-movement tone poem, Pines of the Appian Way, depicts an ancient Roman army in all their glory marching down the famed tree-lined road.

--Randall Malmstrom has brilliantly scored this masterpiece for 10-part Trombone ensemble and Timpani.

--For advanced performers.

SKU: AP.49554S

ISBN 9781470649050. UPC: 038081569833. English.

Completed in 1924 Respighi's masterwork consists of four contrasting movements. The final movement, The Pines of the Appian Way, depicts the advancement of the Roman Legion as it gradually marches towards the listener. It is one of the most glorious and stunning orchestral crescendos in all of classical music. Perfectly arranged for young band by Michael Story! (2:29).

SKU: AP.49554

ISBN 9781470649043. UPC: 038081569826. English.

Completed in 1924 Respighi's masterwork consists of four contrasting movements. The final movement, The Pines of the Appian Way, depicts the advancement of the Roman Legion as it gradually marches towards the listener. It is one of the most glorious and stunning orchestral crescendos in all of classical music. Perfectly arranged for young band by Michael Story! (2:29) This title is available in MakeMusic Cloud.

SKU: KN.09791S

UPC: 822795097917.

Featu ring five movements in diverse styles and forms by Italy's most important composer of the post-Romantic era, this set of early Respighi works is a refreshing departure from the magnificent symphonic poems (ex. Pines of Rome) for which he is best known. All accents, articulations and dynamics should be carefully observed, and the forte passages in the Galliard and Masquerade should by played in boisterous fashion. Duration 5:15.

SKU: HL.44012421

English-German-French- Dutch-Japanese.

Ita lian composer Ottorino Respighi wrote several operas, ballet music, chamber music, piano and organ works as well as Cantatas in a style much influenced by the French Impressionists mixed with his unique personal style. The Japanese arranger Yoshihiro Kimura has skilfully adapted Respighi?s symphonic poem Fontane di Roma for concert bands of an advanced level.

SKU: PR.11540425S

UPC: 680160688142.

My  work Labyrinth for Ithaca College could have easily been titled as my Third Symphony. The work is larger in scope than every other work of mine for winds, save perhaps my first symphony. The piece is cast in two main parts, each consisting of two movements. As it happened I wrote the movements backwards (fitting for something called Labyrinth). The size of the band is on par with that of Karel Husa’s Music for Prague 1968 with one exception, there is an electric keyboard part which lends certain moments in the piece an other-worldly ambience... sounds that are altogether different from anything possible from acoustic instruments. At the risk of sounding obvious or mundane, I had two words floating around my brain during the composing of this work — HUGE and melodic. My predisposition to create inherently melodic music is inescapable at this point in my composing career. This is the kind of music I have gravitated towards since beginning at the piano so long ago. I don’t write ambient or spectral music, nor do I write music replete with extended techniques. The crafting of melodies with gravitas has always made my process of composing the most satisfying. The very last movement of Labyrinth is a gargantuan crescendo the likes of the last movement of Respighi’s The Pines of Rome or Ravel’s Bolero and should leave the audience and players sonically drenched by the end. I’m so honored to have this opportunity to compose for Ithaca College’s 50th Anniversary of that seminal work of Karel Husa’s. I have known Music for Prague 1968 as long as I’ve known serious music for winds. It is my aim that every moment of Labyrinth offers the players as much to bite their teeth on as it leaves the audience in its throng from start to finish. -CP.

SKU: PR.11540425L

UPC: 680160688159.

My  work Labyrinth for Ithaca College could have easily been titled as my Third Symphony. The work is larger in scope than every other work of mine for winds, save perhaps my first symphony. The piece is cast in two main parts, each consisting of two movements. As it happened I wrote the movements backwards (fitting for something called Labyrinth). The size of the band is on par with that of Karel Husa’s Music for Prague 1968 with one exception, there is an electric keyboard part which lends certain moments in the piece an other-worldly ambience... sounds that are altogether different from anything possible from acoustic instruments. At the risk of sounding obvious or mundane, I had two words floating around my brain during the composing of this work — HUGE and melodic. My predisposition to create inherently melodic music is inescapable at this point in my composing career. This is the kind of music I have gravitated towards since beginning at the piano so long ago. I don’t write ambient or spectral music, nor do I write music replete with extended techniques. The crafting of melodies with gravitas has always made my process of composing the most satisfying. The very last movement of Labyrinth is a gargantuan crescendo the likes of the last movement of Respighi’s The Pines of Rome or Ravel’s Bolero and should leave the audience and players sonically drenched by the end. I’m so honored to have this opportunity to compose for Ithaca College’s 50th Anniversary of that seminal work of Karel Husa’s. I have known Music for Prague 1968 as long as I’ve known serious music for winds. It is my aim that every moment of Labyrinth offers the players as much to bite their teeth on as it leaves the audience in its throng from start to finish. -CP.

SKU: TM.13929SET

Transposed: Cl 1-3, Bn 1-2 in Bass, Hn 1-4, Tpt 1-3 + Interna, Trbn 1+2. Original Tpt IV in Bb. Recording for third movement: R6105 at Concert Record Gramophone Company: https://adp.library.ucsb. edu/index.php/matrix/deta il/1000017685/15507L-Song _of_a_nightingale_no._2. Buccine may be substituted by cues in the brass and the addition of Hn V-VI and Tpt IV.

SKU: TM.13929SC

Transposed: Cl 1-3, Bn 1-2 in Bass, Hn 1-4, Tpt 1-3 + Interna, Trbn 1+2. Original Tpt IV in Bb. Recording for third movement: R6105 at Concert Record Gramophone Company: https://adp.library.ucsb. edu/index.php/matrix/deta il/1000017685/15507L-Song _of_a_nightingale_no._2. Buccine may be substituted by cues in the brass and the addition of Hn V-VI and Tpt IV.