Treasure Chest for Flute

SKU: CF.WF228

ISBN 9781491153529. 9 x 12 inches.

Compiled and edited by Amy Porter, Treasures for Flute and Piano is acollection of Philippe Gaubert’s shorter works for flute and piano. Gaubertwas a multi-talented musician, a marvelous flutist as well as a composer,teacher, and master conductor. Over his lifetime, he became one of the mostimportant musical figures in France between the World Wars in the first halfof the 20th century. Trained in theory and harmony at the Paris Conservatory,Gaubert was also deeply influenced by other composers at the time, includingDebussy, Fauré, and Dukas. Editor Amy Porter is a distinguished Professorat The University of Michigan School of Music, Theatre & Dance, and hasbeen praised by critics for her exceptional musical talent and her passion forscholarship. This edition represents eleven of the sixteen works from AmyPorter and Dr. Penelope Fischer’s video study guide, “The Gaubert Cycle: TheComplete Works for Flute and Piano by Philippe Gaubert”.
Philippe Gaubert (1879–1941) was a very important teacher and flutist in our classical flute playing lineage. In this edition we have gathered his beautiful, shorter compositions for flute and piano all in one place, to be cherished as “Gaubert’s Treasures.”Philippe Gaubert personified the modern French school of flute playing as introduced by his teacher Paul Taffanel (1844–1908) at the Paris Conservatory. Gaubert was a multitalented musician, a marvelous flutist as well as a gifted composer, teacher and master conductor. Over his lifetime he became one of the most important musical figures in France between the World Wars in the first half of the twentieth century. Gaubert’s musical andpedagogical gifts to us are passed along through generations of students and continue to touch the hearts of many who listen to his fine, and refined, music.Philippe Gaubert studied composition at the Paris Conservatory with Raoul Pugno, Xavier Leroux, and then for a brief time with Charles Lenepvu. It was after this study that he won the famous Prix de Rome second prize in composition. Even with his schooling of theory and harmony in Paris, he was deeply influenced by other composers of the time, namely Debussy, Fauré and Dukas. Between the years of 1905–1914 Gaubert’s early workswere arrangements and short pieces written for the year-end final exam pieces at the Conservatory.Between 1914–1918 Gaubert served in the French Army during World War I, most notably in the battle of Verdun in 1916. This was considered one of the largest battles against the Germans in WWI. He was wounded but his creativity level was not dampened. He was rewarded for his service and awarded medals for his bravery. It was during this time that he found the energy to compose his Deux Esquisses or 2 Scenes, and sketched out his first flute sonata.Gaubert composed his remaining five flute and piano works after 1922 in Paris, and clearly his poetic soul was transformed from the earlier years. He took in new forms and styles of compositions such as a Suite, a Ballade and a Sonatine. He also completed his Second and Third Sonatas for Flute and Piano, all of them dramatic works in terms of compositional techniques and grandeur of tone.Gaubert composed music easily throughout his lifetime, especially during summer breaks when the orchestra and Paris Opera seasons were on hiatus and he was not conducting. He loved literature and poetry which inspired over thirty vocal works from 1903 through 1938.He also wrote twenty-six instrumental chamber works for other instruments: oboe, cornet, clarinet, trombone, violin, viola, cello, harp and combinations of these instruments with piano. Some of these were commissioned jury pieces, but many were for his musician friends.Six full-length stage works, both ballets and operas for the stage, several tone poems and symphonies were written throughout his lifetime.This edition represents eleven out of the sixteen works from our video study guide “The Gaubert Cycle: The Complete Works for Flute and Piano by Philippe Gaubert” with guest pianist Tim Carey. Omitted in this edition are Sonatas Nos. 1–3, Ballade, and Sonatine.

SKU: BA.BA08893

ISBN 9790006567560. 33 x 24.3 cm inches. Text: Duplat de Monticourt, Pierre-Jacques.

Thi s edition unites all the purely instrumental parts of Rameau’s comdie-ballet “Les Paladins” for performance as a suite in the concert hall.

In view of the wealth of the work’s musical treasures and the stylistic innovations – similar to the “Borades” – the rather frosty reception of the premiere series in the spring of 1760 seems completely incomprehensible to us today. It led to this stage work not being performed again until well into the 20th century. The story that the comdie-ballet tells is based on a fable by La Fontaine, “Le Petit chien qui secoue de l’argent et des pierreries” (i.e. “The little dog who shakes silver and stones”). In medieval Veneto, the guardian Anselme undermines the love affairs of his ward Argies. Scenes of tragic expression are contrasted with folk-comic ones; and last but not least, the sexually ambiguous fairy Manto may have caused difficulties for the bold work at the Paris Opra.

This critical edition is based on the corresponding volume issued in the series “Opera omnia Rameau” (BA 8870-01). Since “Les Paladins” remained unpublished during Rameau’s lifetime and was also not included in the “Œuvres complètes”, this is the first edition of the work. It satisfies both scholarly demand and the practical needs of musicians.

The orchestral parts are available on hire.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: CL.012-3237-01

An exciting programatic composition that depicts the mytholigiocal story of Merlyn, Excalabur and the Lady of the Lake in a quest for the powers of the Sword. Solo spots for Baritone, Trumpet, Flute, Oboe, and Horn. Numerous percussion parts include optional part for piano. Enduring melodies punctuated by dynamic percussion writing makes this piece a worthy choice for any concert or contest performance by better bands. OUTSTANDING!

SKU: CF.CPS13F

ISBN 9780825843617. UPC: 798408043612. 9 X 12 inches.

Commissione d by the South Carolina Chapter of Phi Beta Mu Band Fraternity in honor of Lorraine Paris, Band Director for 47 years at Newberry High School, Newberry, SC. Lorraine Paris is a native of Greenville, South Carolina, where she graduated from Parker High School. She received her B.S. in Music Education from Winthrop College and her M.A. from Furman University. She began her teaching career in 1948 in Newberry, South Carolina, where she taught for the next 47 years until her retirement in 1995. A member of numerous musical organizations, including Phi Beta Mu and the Theta chapter of Alpha Delta Kappa, she served as the first president of the South Carolina Band Directors Association and currently serves as their first Executive Secretary-Treasurer. She has been named Outstanding Bandmaster and Outstanding Contributor by the South Carolina Chapter of Phi Beta Mu, and was also named to that organization's Hall of Fame. Other honors include the South Carolina Career Service Award from ASBDA, the Silver Baton and Scroll of Excellence Awards from WBDNA, and the Band World Legion of Honor. In 1993, she was presented the Key to the City of Newberry, and at her retirement, was awarded the Order of the Palmetto from the State of South Carolina. It is to this legacy that the Phi Beta Mu fraternity commissions Prelude to an American Spiritual and it is Lorraine Paris' love of the hymn song that prompted this arrangement of My Lord, What a Momin'.
Commissioned by the South Carolina Chapter of Phi Beta Mu Band Fraternity in honor of Lorraine Paris, Band Director for 47 years at Newberry High School, Newberry, SC.Lorraine Paris is a native of Greenville, South Carolina, where she graduated from Parker High School. She received her B.S. in Music Education from Winthrop College and her M.A. from Furman University. She began her teaching career in 1948 in Newberry, South Carolina, where she taught for the next 47 years until her retirement in 1995. A member of numerous musical organizations, including Phi Beta Mu and the Theta chapter of Alpha Delta Kappa, she served as the first president of the South Carolina Band Directors Association and currently serves as their first Executive Secretary-Treasurer.She has been named Outstanding Bandmaster and Outstanding Contributor by the South Carolina Chapter of Phi Beta Mu, and was also named to that organization’s Hall of Fame. Other honors include the South Carolina Career Service Award from ASBDA, the Silver Baton and Scroll of Excellence Awards from WBDNA, and the Band World Legion of Honor. In 1993, she was presented the Key to the City of Newberry, and at her retirement, was awarded the Order of the Palmetto from the State of South Carolina.It is to this legacy that the Phi Beta Mu fraternity commissions Prelude to an American Spiritual and it is Lorraine Paris’ love of the hymn song that prompted this arrangement of My Lord, What a Momin’.

SKU: MH.1-59913-072-6

ISBN 9781599130729.

Prog ram Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.

SKU: CF.CPS159F

ISBN 9780825896521. UPC: 798408096526. 9 x 12 inches.

With a simple melody and touching message, Silent Night is one of the most treasured holiday carols of all time. Composer Sean O'Loughlin has set this piece for modern wind band with great care and admiration. The piece's ethereal intro builds to a dramatic climax that is not to be missed!

SKU: CF.FPS120

ISBN 9781491140277. UPC: 680160628339. 9 x 12 inches.

Fifteen men on the dead man's chest! This phrase will give you an idea of the basis for this delightful new piece from composer Richard Summers that is inspired by the Robert Louis Stevenson book Treasure Island. The piece is bold, yet very playable for the grade level. There are plenty of teaching opportunities too with nice counterpoint in a piece the students will love to play over and over again. Your band will sound its best on this contest style piece that invokes the adventurous spirit of pirates!

SKU: GI.G-8789

UPC: 788147878902. English. Text Source: Revised Order of Mass 2010, Lectionary for Mass

In 1988, GIA released Michael Joncas’s No Greater Love, a flexible mass setting offering cathedral-style music that was accessible to the singing assembly. Beautiful melodies enhanced by SATB choir and extensive orchestrations were the hallmark of this best-selling work. Now, Michael Joncas has revised this treasured setting using the 2010 Revised Order of Mass. The revision has a new through-composed Gloria that can be sung in unison during the Sundays of Ordinary Time, and for more festive occasions, one can add the optional instrumental and SATB choral parts. Also new to this setting are the gospel acclamation and a sung setting of the prayer of the faithful. The memorable congregational parts for the Kyrie and the Agnus Dei haven’t changed and the much-loved Holy, Holy has been adapted to accommodate the 2010 Revised Order of Mass text. The optional orchestration is now reduced and includes string quartet, flute, and oboe parts.

SKU: GI.G-8789A

UPC: 785147878940. English. Text Source: Revised Order of Mass 2010.

In 1988, GIA released Michael Joncas’s No Greater Love, a flexible mass setting offering cathedral-style music that was accessible to the singing assembly. Beautiful melodies enhanced by SATB choir and extensive orchestrations were the hallmark of this best-selling work. Now, Michael Joncas has revised this treasured setting using the 2010 Revised Order of Mass. The revision has a new through-composed Gloria that can be sung in unison during the Sundays of Ordinary Time, and for more festive occasions, one can add the optional instrumental and SATB choral parts. Also new to this setting are the gospel acclamation and a sung setting of the prayer of the faithful. The memorable congregational parts for the Kyrie and the Agnus Dei haven’t changed and the much-loved Holy, Holy has been adapted to accommodate the 2010 Revised Order of Mass text. The optional orchestration is now reduced and includes string quartet, flute, and oboe parts.

SKU: GI.G-8789FS

UPC: 785147878995. English. Text Source: Revised Order of Mass 2010, Lectionary for Mass

In 1988, GIA released Michael Joncas’s No Greater Love, a flexible mass setting offering cathedral-style music that was accessible to the singing assembly. Beautiful melodies enhanced by SATB choir and extensive orchestrations were the hallmark of this best-selling work. Now, Michael Joncas has revised this treasured setting using the 2010 Revised Order of Mass. The revision has a new through-composed Gloria that can be sung in unison during the Sundays of Ordinary Time, and for more festive occasions, one can add the optional instrumental and SATB choral parts. Also new to this setting are the gospel acclamation and a sung setting of the prayer of the faithful. The memorable congregational parts for the Kyrie and the Agnus Dei haven’t changed and the much-loved Holy, Holy has been adapted to accommodate the 2010 Revised Order of Mass text. The optional orchestration is now reduced and includes string quartet, flute, and oboe parts   Organ accompaniment is printed in the score.

SKU: GI.G-8789P

UPC: 785147878957. English. Text Source: Revised Order of Mass 2010.

In 1988, GIA released Michael Joncas’s No Greater Love, a flexible mass setting offering cathedral-style music that was accessible to the singing assembly. Beautiful melodies enhanced by SATB choir and extensive orchestrations were the hallmark of this best-selling work. Now, Michael Joncas has revised this treasured setting using the 2010 Revised Order of Mass. The revision has a new through-composed Gloria that can be sung in unison during the Sundays of Ordinary Time, and for more festive occasions, one can add the optional instrumental and SATB choral parts. Also new to this setting are the gospel acclamation and a sung setting of the prayer of the faithful. The memorable congregational parts for the Kyrie and the Agnus Dei haven’t changed and the much-loved Holy, Holy has been adapted to accommodate the 2010 Revised Order of Mass text. The optional orchestration is now reduced and includes string quartet, flute, and oboe parts.