Partitions Numériques de MUC pour Saxophone et Orgue

MUC

MUC

Choir-loft Meditations a romp for organ and alto sax TITLE PAGE
Choir-loft Meditations a romp for organ and alto sax TITLE PAGE #Saxophone et Orgue #INTERMÉDIAIRE #Contemporain #John Sinopoulo-Wilson #Choir-loft Meditations a romp #John Sinopoulo-Wilson #SheetMusicPlus

Instrumental Duet Alto Saxophone,Instrumental Duet,Organ - Level 3 - SKU: A0.947307 Composed by John Sinopoulo-Wilson. 20th Century,Concert,Contemporary...(+)

Instrumental Duet Alto Saxophone,Instrumental Duet,Organ - Level 3 - SKU: A0.947307 Composed by John Sinopoulo-Wilson. 20th Century,Concert,Contemporary. Score and parts. 1 pages. John Sinopoulo-Wilson #3447411. Published by John Sinopoulo-Wilson (A0.947307). A set of pieces dicated to church musicians who occassionallywonder if they have served too long 1 TheToxology 2 Noster Clericus-our clergyman 3 Hymnus, to that girl in the choir we look at too much when conducting4 Hauling in the Sheaves We'are in the Money

Instrumental Duet Alto Saxophone,Instrumental Duet,Organ - Level 5 - SKU: A0.534347 Composed by David Hurd. Concert,Contemporary,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3364727. Published by Musik Fabrik Music Publishing (A0.534347). In three movements: 1. Fantasia 2. Aria 3. FugueDavid Hurd was born in Brooklyn, New York, on 27 January 1950. Prior to his under-graduate studies at Oberlin College, he attended both the High School of Music and Art and the Juilliard School. Upon graduation from Oberlin in 1971 (Mus.B.), he was appointed Assistant Organist of Trinity Parish in lower Manhattan where he served under the direction of Larry King. He was appointed to the faculty of Duke University in 1972 concurrent with graduate studies at the University of North Carolina, Chapel Hill. In 1973 he returned to New York as Organist and Music Director at the Chapel of the Intercession, a position he retained until 1978 when he was named Composer in Residence for a season. In 1976 he was appointed to the faculty of The General Theological Seminary in New York City where he is presently Professor of Church Music and Organist. In addition, has served as Director of Music at All Saints Church, New York City, from 1985 to 1997 and is currently Director of Music at The Church of the Holy Apostles. In 1977 he was awarded first prizes both in organ playing and in improvisation at the International Congress of Organists. He has concertized throughout North America since that time under the representation of Phillip Truckenbrod. He has performed both at National and Regional Conventions of the American Guild of Organists. In 1981 he was invited to perform at the Internationaal Orgelfestival Haarlem, meeting in Gouda, the Netherlands, during which he received the diploma for improvisation of the Stichting Internationaal Orgelconcours. His principal organ teachers were Bronson Ragan, Garth Peacock, and Arthur Poister. In 2009, Dr. Hurd was named the 15th Distinguished Composer of the American Organ Guild. Other composers who have received this award include Virgil Thomson, Ned Rorem, Daniel Pinkham, Conrad Susa, William Bolcom and Dominick Argento. Dr. Hurd will be honored at a special concert during the 2010 AGO convention which will feature a newly commissioned work. He has received many commissions for choral, organ, and instrumental works, and has composed much liturgical music. Among his published works are organ pieces, choral works and many original hymn settings. His liturgical compositions and arrangements are also found in several major hymnals. He served on the Standing Commission on Church Music of the Episcopal Church from 1976 to 1985. He has been a visiting lecturer at the Yale Institute of Sacred Music and a visiting professor at the Yale School of Music. In 1987 he was awarded the degree of Doctor of Music, honoris causa, by the Berkeley Divinity School at Yale. The following year he received two honorary degrees; the Doctor of Sacred Music from The Church Divinity School of the Pacific, Berkeley, California, and the Doctor of Humane Letters from Seabury-Western Theological Seminary, Evanston, Illinois.ï»¿

Instrumental Duet Instrumental Duet,Organ,Soprano Saxophone - Level 5 - SKU: A0.981222 Composed by Judith Cloud. Contemporary. Score and parts. 24 pages. Judith Cloud #6690537. Published by Judith Cloud (A0.981222). What Would Nina Simone Say? For Soprano Sax and Organ (9'50)Program NotesI became interested in Nina Simone in the spring of 2018. She was born Eunice Waymon in Tryon, North Carolina, my own hometown. I knew little about her while I was growing up. Later I heard she was an activist and the sentiment around town I observed was that there was far from a feeling of pride about who Nina Simone was. If that really was the case (and I have no proof of it) there was a dramatic change with the creation of The Nina Simone Project in 2006. I was still ignorant of this, having lived in Arizona for most of my adult life. But researching Simone led me to an immense feeling of pride for my hometown when I read about the support she had from the white community in the 1940â€™s. Without that encouragement and financial support, as well as artistic support from a local piano teacher, Muriel Mazzanovich, Mrs. Mazzy, as she was called and who Nina treasured and respected all of her life, Nina Simone would never have reached the world with her unique prodigious musical talent. She was a diva by all counts and her original compositions reflect a balance of words with music that is far superior to what her contemporaries were creating. A bronze sculpture of her by Zenos Frudakis now stands on Main Street in Tryon. How can you be an artist and not reflect the times? Simone asked in an interview. That to me is the definition of an artist. The feminist writer Germaine Greer declared Every generation has to discover Nina Simone. She is evidence that female genius is real. What would Nina Simone say today? I think sheâ€™d be mad as hell and screaming about revolution, probably still advocating for the use of violence. Iâ€™ve used some of Simoneâ€™s energetic and compelling motives in this composition. It is my own tribute to her genius and to how she gave to the world so much even though she was plagued with agonizing physical and mental ailments. That suffering seems to me an undercurrent in each video I have watched of her concerts. What I would give to have been in her presence for one of those concerts! She embodied music as an art form, revering her musical teachers, Bach, especially. That she never achieved her main goal of becoming the first female African-American classical pianist of world stature is perhaps not so sad when you think of how many more people she moved with her talent expressed in jazz and folk popular idioms. But she was prone to violence and many people, even those closest to her, were often fearful of her rage. She was misunderstood for so many years and it was only in the last two decades of her life that her moods were somewhat controlled through use of prescription drugs. The musical life that began for Eunice Waymon when she was seven years old playing the piano and organ for services at St. Lukeâ€™s C.M.E. Church (where her mother was the preacher) in Tryon, N.C. traversed many cities in many countries. She died at the age of 70 in 2003 in Carry-le-Rouet, France.