Tragedy

SKU: M7.MV-8565

SKU: HL.49044506

SKU: M7.MV-8555

SKU: M7.MV-8545

SKU: AP.6-293297

ISBN 9780486293295. English.

Considered the greatest Italian opera composer since Verdi, Giacomo Puccini (1858--1924) created many of the most popular operas in the repertoire, including Madama Butterfly, La Boheme, Tosca, Manon Lescaut, and Turandot. His well-known gifts for lush melody and rapturous lyricism, along with his strong sense of theater, are amply evident in Il Trittico (The Triptych), a series of three highly individual one-act operas patterned after the Parisian Grand Guignol's three-part scheme of horror, tragedy, and farce. Il Trittico, which premiered at New York's Metropolitan Opera in 1918, consists of Il Tabarro, a somber, near-melodramatic tragedy; Suor Angelica, a sentimental tragedy with strong melodies and a mystic theme; and Gianni Schicchi, a delightful comedy, full of wit and vivacity, whose libretto was derived---surprisingly enough---from a few lines in Dante's Inferno. All three works appear in this single volume, reprinted from authoritative early editions.

SKU: CF.CPS265

ISBN 9781491161289. UPC: 680160919871.

Remem brance was written in November 2018. In remembrance of what it took for us to be here... was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance. We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect--nor is it anywhere near complete--but with each generation's responsibility to carry the torch and never forget, hopefully we can make everything worth it. Performance Notes This tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece's major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates. The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.
Remembrance was written in November 2018. “In remembrance of what it took for us to be here...” was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance.We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect—nor is it anywhere near complete—but with each generation’s responsibility to carry the torch and never forget, hopefully we can make everything worth it.Performance NotesThis tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece’s major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates.The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.

SKU: HL.51485801

SKU: CF.SPS94

ISBN 9781491161449. UPC: 680160920037.

On November 5th, 2017, a mass shooting took place at the First Baptist Church in Sutherland Springs, Texas. Twenty-six innocent people lost their lives that day, including an unborn child. Overture to a Small Town is dedicated to these victims and the loved ones they left behind. From the biggest cities to the smallest towns, the senseless bloodshed must end. Despite the darkness of this tragedy, it is my intent through this music to portray a sense of hope, dignity, and innocence deserved by all America's cities and towns. The opening moments of this piece should be treated delicately, ensuring that the brass section moves together in one unified voice, and that the crotales evoke distant flickers of light. Similarly, in mm. 120-127, articulations in the flutes, trumpets and mallets should be strong enough to be heard, but without being aggressive. The textural layering in mm. 48-53 should be executed with machine-like precision of both rhythm and articulation. This passage should evoke the sound of many voices rising together. There should be a great contrast between the opening Piano dynamic and the final Forte dynamic. In mm. 65-69, both mallet percussionists may play the indicated notes in any octave they choose. Both players should move rapidly between notes in any order. This passage should sound fluid and ethereal. In mm. 69-73: If there is no English Horn available to the ensemble, the Trumpet should play this passage solo. If there is an English Horn, both instruments should play the passage together. This impressionistic composition about these vanished structures, although written for more advanced ensembles, has only one flute, clarinet, trumpet, horn and trombone part. As a result, smaller bands can play this composition without having to look for a flex-band arrangement. Use this to develop the essential skills of syncopation and counting while also offering the security of only having one part for each instrument voice. An exciting contrasting selection for bands looking for a harmonically interesting composition, this also works well as a contest selection.  .
On November 5th, 2017, a mass shooting took place at the First Baptist Church in Sutherland Springs, Texas. Twenty-six innocent people lost their lives that day, including an unborn child. Overture to a Small Town is dedicated to these victims and the loved ones they left behind. From the biggest cities to the smallest towns, the  senseless bloodshed must end. Despite the darkness of this tragedy, it is my intent through this music to portray a sense of hope, dignity, and innocence deserved by all America’s cities and towns.  The opening moments of this piece should be treated delicately, ensuring that the brass section moves together in one unified voice, and that the crotales evoke distant flickers of light. Similarly, in mm. 120-127, articulations in the flutes, trumpets and mallets should be strong enough to be heard, but without being aggressive.  The textural layering in mm. 48-53 should be executed with machine-like precision of both rhythm and articulation. This passage should evoke the sound of many voices rising together. There should be a great contrast between the opening Piano dynamic and the final Forte dynamic.  In mm. 65-69, both mallet percussionists may play the indicated notes in any octave they choose. Both players should move rapidly between notes in any order. This passage should sound fluid and ethereal.  In mm. 69-73: If there is no English Horn available to the ensemble, the Trumpet should play this passage solo. If there is an English Horn, both instruments should play the passage together.This impressionistic composition about these vanished structures, although written for more advanced ensembles, has only one flute, clarinet, trumpet, horn and trombone part. As a result, smaller bands can play this composition without having to look for a flex-band arrangement. Use this to develop the essential skills of syncopation and counting while also offering the security of only having one part for each instrument voice. An exciting contrasting selection for bands looking for a harmonically interesting composition, this also works well as a contest selection. .

SKU: BA.BA05847-90

ISBN 9790006558759. 27 x 19 cm inches. Text Language: French, German. Translation: Schmidt, Peter / Brenner, Peter. Text: Nicolas-Francois Guillard.

Christoph Willibald Gluck's four-act opera onthe curse of the Tantalidesis based on a tragedy by the ancient Greek dramatist Euripides that was particularly popular in the 18th century. Gluck's setting received its highly successful premiere in 1779.
Now Barenreiter is publishing the meticulously revised, corrected and newly engraved vocal score which has been adapted to meet their current editorial standards.

- Urtext edition based on theGluck Complete Edition
- Judiciously modernized and newly engraved
- Detailed foreword (Ger/Fr/Eng) by the editorial board of theGluck Complete Edition
- Well presented idiomatic piano reduction

SKU: CL.012-3814-01

This inspiring composition by Rob Grice celebrates the strength of mankind after experiencing a natural tragedy. This dramatic work is written in three movements: the tornado, aftermath, and the celebration of community. In the face of tragedy the good of humanity will prevail! Emotionally powerful!

SKU: HL.50601022

ISBN 9781495099496. UPC: 888680702540. 6.75x10.5 inches.

Originally commissioned by Chorus America for Unison/2-part choirs, the powerful and “socially conscious” work is now available for SATB choirs. Merging a Christina Rossetti text with words from choir students in Flint, Michigan composer Ramsey lifts up the horrific water crisis situation in Flint, Michigan. This was the personal revelation for the composer that there was something she could do to affect in a positive way the tragedy in Flint. This is also a vehicle for you and your students to positively affect this tragedy as half of the profits from the sale will go directly to Rlint Rising, a coalition of community organizations and allies. There is a QR code in the music for the audience to make a donation.

SKU: CL.012-3814-75

This inspiring composition by Rob Grice celebrates the strength of mankind after experiencing a natural tragedy. This dramatic work is written in three movements: the tornado, aftermath, and the celebration of community. In the face of tragedy the good of humanity will prevail! Emotionally powerful!

SKU: CF.SPS94F

ISBN 9781491161838. UPC: 680160920518.

On November 5th, 2017, a mass shooting took place at the First Baptist Church in Sutherland Springs, Texas. Twenty-six innocent people lost their lives that day, including an unborn child. Overture to a Small Town is dedicated to these victims and the loved ones they left behind. From the biggest cities to the smallest towns, the senseless bloodshed must end. Despite the darkness of this tragedy, it is my intent through this music to portray a sense of hope, dignity, and innocence deserved by all America's cities and towns. The opening moments of this piece should be treated delicately, ensuring that the brass section moves together in one unified voice, and that the crotales evoke distant flickers of light. Similarly, in mm. 120-127, articulations in the flutes, trumpets and mallets should be strong enough to be heard, but without being aggressive. The textural layering in mm. 48-53 should be executed with machine-like precision of both rhythm and articulation. This passage should evoke the sound of many voices rising together. There should be a great contrast between the opening Piano dynamic and the final Forte dynamic. In mm. 65-69, both mallet percussionists may play the indicated notes in any octave they choose. Both players should move rapidly between notes in any order. This passage should sound fluid and ethereal. In mm. 69-73: If there is no English Horn available to the ensemble, the Trumpet should play this passage solo. If there is an English Horn, both instruments should play the passage together.
On November 5th, 2017, a mass shooting took place at the First Baptist Church in Sutherland Springs, Texas. Twenty-six innocent people lost their lives that day, including an unborn child. Overture to a Small Town is dedicated to these victims and the loved ones they left behind. From the biggest cities to the smallest towns, the  senseless bloodshed must end. Despite the darkness of this tragedy, it is my intent through this music to portray a sense of hope, dignity, and innocence deserved by all America’s cities and towns.  The opening moments of this piece should be treated delicately, ensuring that the brass section moves together in one unified voice, and that the crotales evoke distant flickers of light. Similarly, in mm. 120-127, articulations in the flutes, trumpets and mallets should be strong enough to be heard, but without being aggressive.  The textural layering in mm. 48-53 should be executed with machine-like precision of both rhythm and articulation. This passage should evoke the sound of many voices rising together. There should be a great contrast between the opening Piano dynamic and the final Forte dynamic.  In mm. 65-69, both mallet percussionists may play the indicated notes in any octave they choose. Both players should move rapidly between notes in any order. This passage should sound fluid and ethereal.  In mm. 69-73: If there is no English Horn available to the ensemble, the Trumpet should play this passage solo. If there is an English Horn, both instruments should play the passage together.

SKU: CF.CPS265F

ISBN 9781491161753. UPC: 680160920440.

Remem brance was written in November 2018. In remembrance of what it took for us to be here... was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance. We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect--nor is it anywhere near complete--but with each generation's responsibility to carry the torch and never forget, hopefully we can make everything worth it. Performance Notes This tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece's major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates. The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.
Remembrance was written in November 2018. “In remembrance of what it took for us to be here...” was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance.We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect—nor is it anywhere near complete—but with each generation’s responsibility to carry the torch and never forget, hopefully we can make everything worth it.Performance NotesThis tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece’s major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates.The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.

SKU: PA.H07988

ISBN 9790260104471. 31 x 23.5 cm inches.

Piano Sonata No. 4 from the years 1962-1964 is dedicated to the memory of Fiser's friend, the pianist Antonin Jemelik, who died tragically. As a tribute to their friendship the composer incorporated into the introduction a quotation from their favourite work, Piano Sonata No. 10, Op. 70, by Alexander Scriabin. The tragedy of the death of the composer's friend pervades the emotionally intense passage of unison octaves which follows the three-bar quotation. From a compositional point of view this work is a masterpiece of the mid-Sixties. Written as one movement, the piece is divided into numerous mutually contrasting segments which themselves are clearly grouped into two sections, exposition and development. The individual themes are introduced in the first section and thematically expanded in the second section. The motif treatment lies almost exclusively in the fragmenting or curtailing of the theme, or in the use of a combination of several themes, for the most part brief and eloquent. This compositional method, together with a clear-cut manner of execution, mainly semitonal melody and sharply contrastive dynamics, lends force and transparency to the piece. Piano Sonata No. 4 was completed in 1964 together with Symphonic Fresco, Concerto da camera for piano and orchestra and Fifteen Prints after Durer's Apocalypse and has earned its rightful place alongside them as masterpieces of Fiser's oeuvre.

The work was first performed by Pavel Stepan in Prague's Rudolfinum in 1965. The new setting for this piece is based on the single edition to date (Panton, 1969); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).

SKU: TM.05927SC

Transposed: Hn 1&2, Tpt 1&2, CL orig. in Bb.

SKU: PR.416416310

UPC: 680160656080. 9 x 12 inches.