Easier Together

SKU: HL.14042989

ISBN 9788759829240. English.

All In One for 3 String Quartets was composed by Pelle Gudmundsen-Holmgreen in 2013 (String Quartet No.12,13 and 14 played simultaneously).


Gudmundsen-Holmgreen has written a collection of three new string quartets: String Quartet no. 12, ‘Each in Each’; String Quartet no. 13, ‘Mutual Ordering’, and String Quartet no. 14, ‘Well-Tuned Sounds’. Each quartet can be played on its own; they can also played simultaneously in any combination. When all three quartets are played together, as they are tonight, the combined work is titled All in One. About this collection, Gudmundsen-Holmgreenwrites:


'Some years ago Kronos and the vocal group Theatre of Voices performed three new pieces, which I had written for the two groups: one for Theatre of Voices (Green), and two for Kronos (New Ground and No Ground). They were played and sung by each group independently – but also both groups together concurrently, on top of each other, as a final gesture. The combined pieces were called New Ground Green and No Ground Green.


'David liked the idea (and the result) of pairs of quartets that could be played both independently and simultaneously, and asked me if the vocal quartet could be transformed into a string quartet. It could not. He then asked me to repeat the whole set-up with a new pair of quartets, adding also some percussion instruments, as was the case with Green for Theatre of Voices. Of course this was tempting. Furthermore David asked me to make one of the two new quartets a little easier to play.
'I began to work. The Kronos part of the pair of quartets turned out to be tough to play, as David puts it. Unfortunately the ‘easier’ one was tough to play also! So I had to write one more, which was then a little easier still (but still not easy).
'The three new works can be played separately and on top of each other in many different combinations, resulting in different kinds of.

SKU: WD.080689622175

UPC: 080689622175.

What better way to start your Sunday morning service than with a song! But which song? And what kind of song? With so many amazing titles to choose from, make sure it’s a Gathering Song!

Choosing a song to kick off your next Sunday morning service couldn’t be easier with this special, third edition Choral Collection from Word Music & Church Resources— GATHERING SONGS 3! This resource is just the tool you need when selecting the perfect Gathering Song to bring believers together in Christ, preparing their minds and hearts to “enter His gates with thanksgiving and His courts with praise.”

These are Gathering Songs! Designed to lead your congregation in praise-filled worship, these Service Openers for Worship-Leading Choirs will fill the room with voices lifting high the Name of God...hands raised in surrender to the King of Kings and hearts wide open to the Lord of Lords. Arranged and Orchestrated by Cliff Duren, GATHERING SONGS 3 is complete with songs chosen especially for you and your choir, inviting worshippers to come inside His house, joining together in endless praise of the Lord our God.

SKU: FJ.ST6454S

English.

This festival arrangement of Electric Sinfonia allows students from your entire strings program to play together! The set includes the required grade 2.5 parts along with easier grade 1 parts and a very easy grade ½ level, which uses only pizzicato. In a modal A minor, the piece has hints of rock music and a white-hot intensity that runs through the entire work. Perfect for building confidence - the individual parts are quite easy to play, but all together as a group... sensational!

About FJH Developing Strings

Slightly more advanced than Beginning Strings, this series begins to involve more position work and a slightly more complex rhythmic figures. Rehearsal piano is often provided. Ideal for middle school and smaller high school programs. Grade 2 - 2.5

SKU: BT.EMBZ14703

Piano students can most easily get to know and enjoy chamber music through four-hands playing. It is no accident that this volume makes reference to the title of Haydn's famous piece Il maestro e lo scolare, since the four-hands etudes it contains provide opportunities for teachers and pupils to make music together. The teacher can always play the more difficult part (this is sometimes the 'Secondo', sometimes the 'Primo') and the student the easier one.

Den angehenden Pianisten lässt sich die Kammermusik am leichtesten durch Stücke für vier Hände vertraut und beliebt machen. Der Band weist nicht umsonst auf den Namen des bekannten Haydn Werkes Il maestro e lo scolare hin, da die Etüden dieser Ausgabe Schülern und Lehrern die Möglichkeit zum gemeinsamen Musizieren bieten. Der Lehrer kann immer die schwierigere (diese ist einmal die 'Secondo', ein anderes Mal die 'Primo'), der Schüler die leichtere Stimme spielen.

SKU: AU.9781506486598

ISBN 9781506486598. 7 x 10.25 inches.

Eugene Hancock marvelously knits together the tune of the spiritual Mary Had a Baby with the chant Hodie Christus natus est and clothes them with the Christmas text from Isaiah. Originally published in 1987, the anthem has been reedited to make it easier to perform and allows for a more flexible accompaniment with optional C-instrument and organ.

SKU: FA.MFCD017B

8.27 x 11.69 inches.

Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

SKU: BT.PWM5939140

Polish.

The ''Music Reader'' has been conceived as a kind of music magazine for junior music schools. Its aim is to provide children with a valuable music material; and the collecting together of works by various composers of different epochs in one volume will make it easier for a teacher to select a repertory which would have to be assembled from different, not always available, collections. In addition, the Music Reader, as its title suggests, might provide useful material for sight-reading practice. All the pieces in the Music Reader have been checked against urtext editions or the most recent critical editions. The editing in itself has also been modernized in order to make the text as transparent as possible. The editor's performance directions, regarding tempo, dynamics, articulation and so on, have been placed in brackets in order to differentiate them from the composer's marks, while added slurs are pecked. In this way, both teacher and student will be able to distinguish the original marks from those added by the editor, which - of course - are less binding.