Matériel : Conducteur et Parties séparées
SKU: SU.91140210
Inventor of the Cherokee syllabary.Natural and cohesive mixed meter; optional rhythm section.GRADE 4Instrumentation: Concert Band [2fl, ob, 3cl, bcl, bn, 2asx, tsx, bari; 3tp, 4hn, 3tb, euph, tba; timp, elec bs, elec gtr, drm set (or 2perc), glock/xylo, mar, vibr] Duration: 3' Composed: 2018 Published by: Subito Music Publishing AMERICAN WONDERS is a set of lyrical symphonic band works created by composer Edward Knight in collaboration with nationally known music educator Michael Raiber, and award-winning journalist M.J. Alexander, inspired by episodes from American history. These cross-curricular pieces focus on specific areas of musical growth in individual musicianship and ensemble experience. Each piece has unique features that offer musicians and teachers learning experiences beyond typical repertoire for bands at these performance levels.
SKU: BT.DHP-1145564-020
The Gospel Mass-a mass for mixed choir, combo and concert band-is based on the gospel music that has spread throughout the world since its creation in America. After Missa Brevis and Missa Katharina this is the third mass fromthe pen of Jacob de Haan. The movements of the mass ordinary as we know it have now been composed in various pop styles that have their origin in the gospel music. We hear, then, not only the classic American gospel style (including thecharacteristic clapping and swing rhythms), but also freer gospel styles that have developed over the course of time. The Credo, for example, is a ballad with rock and funk influences. The Agnus Dei is heard as a slow blues-a genreclosely linked to gospel music. The unique feature of this work, of course, is in the combination of all these pop and gospel elements with the Latin liturgy of the Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei, which results in abeautiful, cohesive whole. As far as we know, The Gospel Mass is the only true gospel mass.The Gospel Mass – een mis voor gemengd koor, combo en blaasorkest – is gebaseerd op de gospelmuziek zoals die zich sinds haar ontstaan in Amerika overal in de wereld heeft verspreid en ontwikkeld. Het werk is na Missa Brevisen Missa Katharina de derde mis van componist Jacob de Haan. De ordinariumdelenzoals we die kennen van een mis, zijn hier gecomponeerd in diverse popstijlen die hun oorsprong vinden in de gospelmuziek. Zo horen we niet alleen deklassiekeAmerikaanse gospelstijl (inclusief hand-clapping en swing), maar ook de vrijere gospelstijlen die zich in de loop der tijd hebben ontwikkeld. Het Credo is bijvoorbeeld gecomponeerd als een ballad, terwijl in andere delen rock- en funkinvloeden zijnverwerkt. Het Agnus Dei klinkt in een slow blues, een genre dat nauw verbonden is met de gospelmuziek. De unieke factor is de combinatie van al deze pop- en gospelelementen met de Latijnse misteksten van het Kyrie, Gloria, Credo, Sanctus, Benedictusen Agnus Dei – daarmee ontstaat een fraai, samenhangend geheel. Voor zover bekend is The Gospel Mass de enige echte gospelmis.The Gospel Mass eine Messe für gemischten Chor, Combo und Blasorchester basiert auf der Gospelmusik, wie sie sich seit ihrer Entstehung in Amerika überall auf der Welt verbreitet hat. Das Werk ist nach Missa Brevis und MissaKatharina die dritte Messe aus der Feder von Jacob de Haan. Die Ordinariumsteile, wie man sie aus einer Messe kennt, sind hier in diversen Popstilen komponiert, die ihren Ursprung in der Gospelmusik haben. So hören wir nicht nur den klassischen amerikanischen Gospelstil (inklusive Händeklatschen und Swing),sondern auch freiere Gospelstile, die sich im Laufe der Zeit entwickelt haben. Das Credo ist beispielsweise eine Ballade, in der Rock- und Funk-Einflüsse verarbeitet wurden. Das Agnus Dei erklingt als langsamer Blues ein Genre, daseng mit der Gospelmusik verknüpft ist. Der einzigartige Faktor dieses Werkes besteht natürlich in der Kombination all dieser Pop- und Gospelelemente mit den lateinischen Messetexten der Ordinariumsteile Kyrie, Gloria, Sanctus, Benedictusund Agnus Dei, die ein schönes, zusammenhängendes Ganzes ergibt. Soweit bekannt, ist The Gospel Mass die einzige echte Gospelmesse.Th e Gospel Mass messe pour chœur mixte, combo et orchestre d’harmonie, fut composée partir du style gospel, qui, depuis ses origines en Amérique, s’est peu peu étendu dans le monde entier. Après Missa Brevis et MissaKatharina, voici la troisième messe signée par le compositeur Jacob de Haan. Les différents mouvements de la composition de Jacob de Haan s’articulent selon le déroulement d’une célébration liturgique ordinaire. La Gospel Mass comporte divers styles pop qui trouvent leur origine dans la musique gospel. Nous entendonsalors, non seulement le style classique américain des gospels songs (y compris les applaudissements caractéristiques et rythmes swinguant), mais aussi une plus grande liberté d’usage des styles de gospel qui se sont développés au fil du temps. LeCredo, par exemple, est une ballade aux influences rock et funk. LAgnus Dei résonne comme un slow blues - un genre lent étroitement lié la musique gospel. La particularité de cette œuvre réside dans une belle et cohérente combinaisonde tous ces éléments pop et gospel avec le Kyrie, Gloria, Sanctus, Benedictus et Agnus Dei de la liturgie latine. Pour autant que nous sachions, The Gospel Mass est la seule véritable messe gospel.
SKU: BT.PWM5447
''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].
SKU: CF.SAS5
ISBN 9781491159279. UPC: 680160917853.
Catal yst is a fiery and rhythmic piece that allows your ensemble to work on syncopated rhythms, difficult but accessible fingerings, and advanced phrasing. Articulations should all be emphasized in order to add to the drama of the piece, as well as to create a strong contrast between the crisp staccatos and the long and smooth legatos. Awareness across the ensemble will be essential to maintain both cohesion and clarity of the melody throughout the faster and slower sections.
SKU: CF.CPS250
ISBN 9781491159576. UPC: 680160918164.
Kalei doscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight--heights are not my thing--I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line. Melodic lines should soar with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not cloud the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.Kaleidoscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight—heights are not my thing—I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line.Melodic lines should “soar” with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not “cloud” the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.
SKU: CF.BAS72
ISBN 9781491146361. UPC: 680160903863. 9 x 12 inches. Key: D major.
Spires is written in three voices: first violins, second violins and violas doubled, and cellos and basses doubled. Unison passages allow the teacher to focus on establishing ensemble cohesiveness, emphasizing beginning and ending together and playing in tune.
About Carl Fischer Beginning String Orchestra Series
Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: CF.CAS150
ISBN 9781491162828. UPC: 680160921577. Key: D minor.
Magical Ireland has been the setting for countless captivating adventures in literature, art, film, and music. Isle of Destiny will lead your students to the edge of their musical imagination. From the proud Celtic heartbeat of the bodhrán (Celtic drum), to the heartfelt and noble middle section, this uplifting 6/8 piece for intermediate orchestra will be an enchanting journey for all.By encouraging listening to other parts while playing, Isle of Destiny will inspire students to observe symbols while matching rhythms, dynamics, articulations, bowings, and phrase directions with the goal of creating a meaningful dialogue between parts. Set in 6/8 time in the string-friendly key of D minor, the benefits of this cohesive approach will naturally extend into future exploration of chamber music as well orchestral playing. Immerse your students in the energy, beauty, and soul of the Emerald Isle sharing their joy, positivity, and achievement with audiences, while on the way to their own musical destinies.
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS150F
ISBN 9781491163160. UPC: 680160921911. Key: D minor.
SKU: CA.5165203
ISBN 9790007294243. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozart??s Requiem. ??Another one?? you might ask, since this publication is only the latest in a long line reaching back to the traditional Sü?mayr version. Yet such is the enormous power of Mozart??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman??s additions to Mozart??s great original show the requisite care and respect while incorporating many new insights.Arman?? s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument??s unique sound is given an opportunity to shine. Arman??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather ?? in the spirit of Mozart ?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozart??s fragment ends with the Hostias, and so does Arman??s completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Sü?mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Arman??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike ?? and celebrated as offering a scholarly, entirely fresh perspective on Mozart??s masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: CA.1011419
ISBN 9790007302160. English. Text: Broadbridge, Edward.
Danish composer John Høybye enjoys great acclaim at home and abroad, not just for his music but also for his work as a (choral) conductor and arranger.Presenti ng a medium level of difficulty, Hope. Easter Music is suitable for a good amateur choir. The mix of a beautiful choral sound and rhythmic intensity in jazz-inspired phrases is “trademark Høybye”. Primarily written for four voices (SATB), the choral writing subdivides at certain, particularly expressive passages to create six- or eight-part harmonies. In addition, the male voices are challenged by several excellently scored four-part passages (TTBB without female voices). The short male voice solo can be sung instead by the choir if necessary.The instrumental quartet is given ample scope for improvisation. While each of the eight movements has its own unique character, the work forms a cohesive whole. Based on a text by Edward Broadbridge, the movements are linked by the theme of “hope” as well as by recurring musical motifs and themes. This not only makes the piece easier to rehearse, but also ensures its popularity with audiences.
SKU: HL.49030371
ISBN 9790220119514.
Writ ten for the superb Domus ensemble, Casken's vivid addition to the small number of modern piano quartets exploits the very different sonorities, weight and attack which strings and piano possess. Casken's music has a strong sense of theatre and here the singing lines are constantly threatened by dynamic, rhythmic material. '... this 16-minute single movement explores the essential dichotomy between the dynamic percussive keyboard and the singing, more cohesive strings.' (Christopher Morley. The Birmingham Post. 1990).
SKU: PR.114419320
UPC: 680160676071. 9 x 12 inches.
Commissione d by the Philadelphia Chamber Music Society for its Thirtieth Anniversary for the Clarosa Quartet. The first movement begins with detached fragments and soon turns into something cohesive and dramatic. The second movement pastorale is a beautiful interlude with glistening piano effects. The fourth movement closes the quartet with a long whirlwind at the end. Overall, Krzywicki left me with the same feeling I get from Beethoven's late quartets -- the sense that you're in direct contact with the composer's state of mind. Krzywicki's feelings aren't as conflicted as Beethoven's but they're just as real. -- Tom Purdom (BroadStreetReview.com).< /p>
SKU: CF.B3417
ISBN 9780825859274. UPC: 798408059279. 9 X 12 inches.
Commissione d by Chamber Music America, this beautiful neo-romantic work was first performed on January 17, 1993 by Emil Miland and Robin Sutherland. A substantial work at 20 minutes, the sonata, alternates between lyrical writing and music with a scherzo-like feel that is both lively and animated. Sonata for Cello and Piano is written in one movement that flows extremely well with an intertwined cohesiveness between the two players. A memorable piece for a cello recital!
SKU: AP.33670S
UPC: 038081381671. English.
Loaded with joyful and optimistic character, this original piece presents two contrasting themes. Moving from the initial rhythmic, fiddling style section into the warm lyricism of an old Celtic air and back to the rhythmic theme, all parts are musically engaging and encourage cohesive energy in the ensemble. Featured syncopation, some third position for the 1st violins, and rapid string crossing figures provide just the right amount of challenge. Clever bow technique and fun rolled into one!
SKU: CF.CPS217
ISBN 9781491152430. UPC: 680160909933.
The title, Aerius, is a Latin term meaning “soaring” or “rising aloft”. This piece is signature Carl Strommen at his best. The piece begins with a lush brass chorale that is developed before leading to an energetic presto section. The composition comes full circle and finishes with a majestic return of the chorale material from the opening. A welcome addition to the repertoire.The title Aerius is a Latin term meaning “soaring” or “rising aloft.” The students chose this title to signify the forward momentum and overall journey of their time in the high school band program. With new events and performances, and a first time commissioning a work, this piece signifies the great strides the band has made in recent years.The opening brass chorale section should be played very connected, observing the two-measure phrasing and breathing as one cohesive unit. The Presto section at m. 25 should be taken between 165-170 bpm. the vibraphone soloist should use medium-hard mallets with the pedal on. The sustained notes at m. 41 should be played way under the upper woodwinds to get the greatest effect as it builds in volume and intensity in m. 49, and again into m. 57.At m. 69, the percussion must sustain the pulse to the conductor’s tempo, careful not to add accents they’re hearing among the other sections. After the ritardando in m. 83, push the tempo at m. 85 slightly to where the woodwinds feel comfortable playing the triplet figure with appropriate breathing and phrasing.- Andrew Monsen, Hauppauge High School Band Director, June 2017.
