“American Suite”, in A Major, Op. 98

SKU: CF.WF232

ISBN 9781491153772. UPC: 680160911271.

Known internationally for superior flute editions, Robert Stallman continues his considerable expansion of the flute repertoire with re-creations, or “new” works for flute by Bach, Mozart, Schubert, Beethoven, Chopin, Dvořák, and other great composers.Conceived originally as a work for solo piano, this arrangement of Dvořák’s Suite in A Major for flute and piano is based on both the piano and orchestra versions. It is one in a series of Stallman’s “new” works for flute. Dvořák composed the Suite in A Major in 1894, inspired by his happy and fruitful stay in the “New World” —a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World” Symphony, Cello Concerto, “American” Quartet, String Quintet in E≤ Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.
PrefaceConceiv ed originally as a work for solo piano, the Suite in A Major was composed by Dvořák in 1894, during his famous two-year visit to the United States. He wrote the work in a mere ten days, and a year later made a full orchestration of it. The Suite was first performed in this second version in 1910 in Prague at the Rudolfinum. Dvořák, who died in 1904, never had a chance to hear a performance of this stirring orchestral realization.The Suite was inspired by the composer’s happy and fruitful stay in the “New World”, especially by his unforgettable summers spent in the quiet Czech-American village of Spillville, Iowa—a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World” Symphony, Cello Concerto, “American” Quartet, String Quintet in Eb Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.Several of the Suite’s affecting melodies find echoes in these other, better known compositions of this American period. Wistful themes abound in all five movements, reflecting Dvořák’s transformative American experience as it found resonance in his own emotions. Contrasting with deeply felt, contemplative passages are Dvořák’s joyous and tempestuous expressions, which open the second, third and final movements.This arrangement for flute and piano is based on both the piano and orchestra versions. It is one in a series of my “new” works for flute by some of our greatest composers and I am delighted to add it to the collection. I predict that the A Major Suite will become a popular addition to our Romantic recital repertoire, much like the Dvořák Sonatina.—Robert StallmanMarblehead, Mass.June 1, 2018.

SKU: BT.DHP-1063960-140

9x12 inches. English-German-French-Dut ch.

Norman Rockwell (1894-1978) is one of the most beloved American artists. Widley known for his cover illustrations of The Saturday Evening Post, he excelled at painting the lives of ordinary Americans with his warmth, detailedobservations, and sense of humor. Composer Hayato Hirose was inspired by three of Rockwell's major works and expressed his own impressions of them in this music. This heart-warming piece will add an embracing and touchingimpression to a concert, lifting the spirits of the audience.

Voor zijn sfeervolle compositie Norman Rockwell Suite liet Hirose zich inspireren door drie werken van de Amerikaanse kunstschilder Norman Rockwell. Deze is bekend om zijn illustraties voor The Saturday Evening Post,waarin hij de levens van gewone Amerikanen weergaf met warmte, oog voor detail en humor.

Zu seiner stimmungsvollen Komposition Norman Rockwell Suite lie�? sich Hirose von drei Bildern des amerikanischen Malers Rockwell von der Mitte des 20. Jahrhunderts inspirieren.

Norman Rockwell Suite est une suite colorée, inspirée des trois plus grandes ?uvres de l�??illustrateur américain Norman Rockwell dont le nom est jamais identifié au Saturday Evening Post pour lequel il réalisa ses plus célèbres illustrations et couvertures.

SKU: BT.DHP-1063960-040

9x12 inches. English-German-French-Dut ch.

Norman Rockwell (1894-1978) is one of the most beloved American artists. Widley known for his cover illustrations of The Saturday Evening Post, he excelled at painting the lives of ordinary Americans with his warmth, detailedobservations, and sense of humor. Composer Hayato Hirose was inspired by three of Rockwell's major works and expressed his own impressions of them in this music. This heart-warming piece will add an embracing and touchingimpression to a concert, lifting the spirits of the audience.

Voor zijn sfeervolle compositie Norman Rockwell Suite liet Hirose zich inspireren door drie werken van de Amerikaanse kunstschilder Norman Rockwell. Deze is bekend om zijn illustraties voor The Saturday Evening Post,waarin hij de levens van gewone Amerikanen weergaf met warmte, oog voor detail en humor.

Zu seiner stimmungsvollen Komposition Norman Rockwell Suite ließ sich Hirose von drei Bildern des amerikanischen Malers Rockwell von der Mitte des 20. Jahrhunderts inspirieren.

Norman Rockwell Suite est une suite colorée, inspirée des trois plus grandes œuvres de l’illustrateur américain Norman Rockwell dont le nom est jamais identifié au Saturday Evening Post pour lequel il réalisa ses plus célèbres illustrations et couvertures.

SKU: AP.36-M398291

UPC: 654690637635. English.

Robert Nathaniel Dett was a Canadian-American Black composer, organist, pianist, choral director, and music professor. Born and raised in Canada until the age of 11, he moved to the United States with his family and had most of his professional education and career there. The Magnolia Suite for solo piano is in five movements: 1. Magnolias (D Major), 2. The Deserted Cabin (B minor), 3. My Lady Love (A Major), 4. Mammy (D flat Major), The Place Where the Rainbow Ends (G flat Major).

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: GI.G-10368

ISBN 9781622776276.

This is a fascinating and important book for everybody even remotely interested in the history of American bands. Bryan Proksch has done some painstakingly thorough research in putting together an amazing assemblage of documents… This is a must-have book! —Jon Ceander Mitchell     The Wind Music Research Quarterly: Mitteilungsblatt der IGEB     (March 2022), 14–15 For the scholar, each entry presents an opportunity for expansion. For the teacher, this work provides source readings for courses on wind band history or for complementing Strunk or Weiss-Taruskin in university music history courses. That said, these documents stand as an enriching and entertaining read in their own right for anyone interested in the subject. —Michael O’Connor     Historic Brass Today 1/2 (Spring 2022), 32 The Golden Age of American Bands is ideally suited for courses on the history and literature of bands in America. Indeed, this volume could suffice as a textbook for adventuresome teachers in that it touches on the major musicians, instruments, ensembles, and functions expected of such a course. . . . Both private and classroom band instructors will find compelling glimpses into the history of their craft. [It is] bursting with opportunities to inspire curiosity in their students while effectively supporting their own curricular goals. —Benjamin D. Lawson and James A. Davis     The Journal of Music History Pedagogy Proksch’s new collection of documents is a most welcome step in the direction of getting [the story of bands] under control. The juxtaposition of documents from so many levels and types of ensembles proves to have a cumulative effect: one begins to see the subtle and long-lasting connections among them despite the big differences. It is easy to envision it as a supplemental text in a course on band history and literature, but the book is also just an absorbing read. There is much to learn here, and much to enjoy. —Ken Kreitner     Notes 79/2 (December 2022): 217-218 This is the story of the American wind band, told chronologically by those who experienced it in real time from 1835 to 1935. How did bands become bands? How did they rise in popularity? Which figures had insights and specific impacts on the development of the genre? Through source documents and articles, Bryan Proksch takes us on an extraordinary journey from the time of the first brass bands in the 1830s, through the Civil War and the golden ages of Gilmore and Sousa, to the cusp of the wind ensemble just before World War II. Hear from a young Frederick Fennell about his efforts to create the first band at Eastman. Read the outline of Allessandro Liberati’s unpublished trumpet method book. Eavesdrop on Karl L. King as he muses on the fate of bands after the death of Sousa. See Patrick Conway’s first undergraduate music education curriculum. Gawk as trombonist Fredrick Neil Innes embarrasses “world’s greatest cornetist” Jules Levy at Coney Island. Explore as Alan Dodworth revolutionizes bands. Retreat with a military band in the middle of a Civil War battle. Find out what it felt like to sit in a Sousa Band rehearsal. Ask Herbert L. Clarke why he thinks you should be playing a cornet instead of a trumpet. Find out how P. S. Gilmore managed to pull off the biggest concert events in American history. The book includes numerous rare and unknown illustrations to show you the places where band history happened. The documents include rare periodical excerpts, handwritten letters, and other writings taken from archives throughout the United States. These first-person accounts are certain to further refine and deepen our understanding and appreciation of American band history on a grand scale. Contents: Beginnings (1835–1859) The Civil War (1860–1865) The Jubilees (1866–1879) The Gilded Age (1880–1896) The Band Age (1897–1914) World War I (1915–1919) Transition and Decline (1920–1935)   Click here to download a FREE addenda. Bryan Proksch is a distinguished faculty lecturer and associate professor of music history and literature at Lamar University in Beaumont, Texas. This is his third book. His A Sousa Reader: Essays, Interviews, and Clippings (GIA Publications, 2016) explores the documents relating to the life and career of John Philip Sousa.