Format : Sheet music
SKU: HL.645873
ISBN 9781495081743. UPC: 008148007523. 9.0x12.0 inches.
This collection is designed as an introduction to classic music by some of the world's greatest composers. Sketches and biographical information about each composer are provided. The music selected is transcribed from well known symphonies, operas, ballets and orchestral music to widen the student's musical experiences beyond standard piano literature.
SKU: HL.645874
ISBN 9781495081750. UPC: 008148007530. 9.0x12.0 inches.
SKU: BT.CMP-1011-06-040
9x12 inches. English.
Developing an intimate understanding of the worldâ??s greatest musical accomplishments is an important part of a music education. Every musician should have the joy of playing the music of Mozart, and the G-minor Symphony (Number 40) is one of Mozartâ??s signature works, and one of the greatest musical achievements of all time. Stephen Bulla has carefully and effectively brought the themes of the G-minor Symphony finale to the concert band stage with this delightful transcription/arrangement. Your band wonâ??t be playing a â??band arrangementâ?- theyâ??ll be playing MOZART! Donâ??t forget the opportunity for a music history lesson built into this piece.Masterful!
SKU: HL.49046422
ISBN 9781540090669. UPC: 840126916454.
Beethovens Birthday Boogie is a tribute to one of the greatest composers in musical history: in 2020 the music world will mark the 250th anniversary of his birth. This piano piece works in several Beethoven themes from the Fifth and Ninth Symphonies, presented inthe guise of a Boogie. It begins with what may be the most famous four-note motif in classical music, the musical symbol representing Beethoven. This is immediately followed by the theme from the Ode to Joy, this time in ternary rhythm, accompanied by aplayful Boogie-Woogie figure; another musical quotation is then followed by a brilliant cadenza. An imperfect cadence ending on the dominant leads into a solemn version of the familiar Happy Birthday tune in the style of Beethoven, then the piece ends with two characteristic jazz chords.
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: HL.51489817
UPC: 840126932782. 6.75x9.5x0.341 inches.
The premiere of this work in December 1813 ranks among the greatest successes Beethoven ever celebrated in public as a composer. One reviewer wrote at the time that in its themes the new symphony was “so favourable and easily comprehensible that every music lover falls for the powerful allure of its beauty.†The incisiveness of the themes is fundamentally related to the basic ostinato rhythms, which help shape each movement’s distinctive character. Richard Wagner even called the composition, with its ecstatic finale, an “apotheosis of the dance.†Based on the musical text of the Beethoven Complete Edition and furnished with a new preface, this recently prepared edition reflects the latest in Beethoven scholarship. Now, in this study edition, it is available to everyone at a reasonable price and in a handy format.
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