Matériel : Conducteur
SKU: KN.08554S
UPC: 822795085549.
This dramatic original portrays the grandeur of an era gone by with bold melodic lines built on a strong harmonic foundation. To achieve the robust sound Del Borgo intends, all violins play the same part, easy double-stops are to be played non-divisi, and bowings should be broad, not spaced. Duration 3:00. Available in SmartMusic.
SKU: MH.1-59913-054-8
ISBN 9781599130545.
Roya l Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half- step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.
SKU: FJ.B1669
UPC: 241444367544. English.
Take a trip back in time to the royal court of Queen Elizabeth I with this faithful rendering of two Renaissance favorites. Comfortable ranges in the winds and active percussion parts make this piece easy to rehearse and perform. A great choice for a contrasting work in your next performance.
About FJH Developing Band
Sligh tly more advanced than beginning band. Clarinet 1 begins to play over the break. Rhythms and ranges are expanded to accommodate the end of first-year as well as second-year instruction. Grade 1.5
SKU: FJ.B1669S
English.
SKU: BR.DV-32027
ISBN 9790200425192. 9 x 12 inches.
Bicinia - unaccompanied duos - have been known to us from the fifteenth century onwards. So quite early on it was customary tu practise this type of musical exercise, which later, especially during the Romantic period, achieved great popularity as the duo or duett. Equal numbers of this sort of instrumental duo were composed for nearly all wind and string instruments. On the other hand, only a small amount of compositions for two trumpets have come down to us. In order to play any music which progresses beyond pure fanfare on a natural (valueless) trumpet, it is necessary to make use of the clarion register (the top third of the natural harmonic). And if such a melody is to be accompanied by a second part, only the few natural notes lying below it are left, or else this high register itself, which calls for great virtuosity on the part of the trumpeter. As well as this, we must remember the fact that trumpet-playing was only allowed for the trumpeters of a royal court, army, staff, or for the field-trumpeter of a prince, plus a few council, city, and church musicians, who were bound by strict guild and corporation rules. Thus in spite of the preference for its festive sound, the spread and handing down of trumpet music was almost reduced to nothing under these circumstances. As well as this, pride of place and profession rivalry and envy amongst musicians contributed in large part. In England the situation was somewhat freer. Here pretty little trumpet duos originated, including, amongst others, those written by Handel for his master-trumpeter Valentin Snow and the Royal Sergeant-trumpeters of the Shore family. An especially happy exception was the diocese of Olmiitz. Here there was a capable group of musicians of the chapel royal with the brilliantly talented group of trumpeters and the field-trumpeter Pavel Vajvanovsky, who also composed himself. These trumpeters in the service of his prince-bishop played many sacred and secular pieces, all for several instruments. It was for them also that Heinrich Ignaz Franz Biber wrote the 12 double trumpet sonatas we present here. On the other hand, the representatives of the authorities in Germany ensured strict observation of all edicts and regulations. Even the celebrated Bach-trumpeter and towm-piper Gottfried Reiche was never allowed to be portrayed with a proper trumpet due to the priveleges of court and field trumpeters. In order to represent him as one of the greatest masters of his time and art, however, the painter placed an instrument similar to a corno-di-caccia in his hand, together with a sheet with a small piece for virtuoso clarion. When we try in spite of these difficulties and adverse circumstances to gather a collection of musically valuable and characteristic examples of popular pieces for two trumpets from the seventeenth and eighteenth centuries, it is in the first, place in order to acquaint modern trumpeters with something of the wealth of music, which can also be well played on a modern trumpet with valves. The originally used trumpets correspond to modern ones in the keys of C and D, but this does not mean that many of the pieces cannot be transposed to a more comfortable register. On top of this, we have tried to give a picture of the baroque court and field trumpeter, as well as of the mysterious clarion trumpeter, with the help of musically popular material. The origin of most of the pieces used is no longer clearly discernable. In most cases we possess second- or third-hand copies which have been handed down, and show signs of frequent use. A few cases where modernization of the second part obviously did not take place until the invention of stops, have been re-shaped into their supposed original form. A series of further dynamic details were left, and marked as optional suggestions in brackets. Kurt Janetzkyz.T. mit Pauken und B.c.
SKU: HL.14027731
ISBN 9780711963528. English.
Spanish clarinettist, composer, and teacher Antonio Romero y Andia was born in 1815 in Madrid. He made his debut at 14, and later became solo clarinettist and music director of the Royal Court Orchestra. He is now remembered primarily for the Clarinet key system that bears his name, as his compositional works, though high quality, were few in number. From 1849-1876, Romero was the Clarinet Professor at the Madrid Conservatory, where he wrote his Complete Clarinet Method . Over 150 years later, it is still in popular use by schools and conservatories all over the world.
SKU: HL.14027730
ISBN 9780711958135. English.
Spanish clarinettist, composer, and teacher Antonio Romero y Andia was born in 1815 in Madrid. He made his debut at 14, and later became solo clarinettist and music director of the Royal Court Orchestra. He is now remembered primarily for the Clarinet key system that bears his name, as his compositional works, though high quality, were few in number. From 1849-1876, Romero was the Clarinet Professor at the Madrid Conservatory, where he wrote several his Complete Clarinet Method . Over 150 years later, it is still in popular use by schools and conservatories all over the world.
SKU: HL.44010964
UPC: 884088615864. 9x12 inches. English(UK)/Deutsch/Franc ais/Nederlands.
Ken tish Dances was commissioned by the Bromley Youth Music Trust for the Bromley Youth Concert Band - Michael Purton, conductor. Bromley is in Kent, the most southeasterly of all the English counties. Kent has a rich folk history and, like many parts of the country, its own home-grown dance tunes. What has become known in England as “country dancing†became popular during the Elizabethan period amongst the middle and upper classes, who preferred the style to the more formal galliards and pavans of the royal court. This suite is based on three dance tunes that originated in Kent; the first is a sort of moto perpetuo based on two lively 6/8 tunes, “Dover Castle†and “The Fair Maid of Wickham.†The middle movement uses the rather sombre “Blackheath,†contrasting it with the charming and apt “Bromley Bells.†The finale uses the sprightly “We Are All Right at Canterbury and Ramsgate Pier,†using the lilting “Northdown Waltz†as a lyrical contrast.
SKU: HL.44010965
UPC: 884088615871. 9x12 inches. English-German-French-Dut ch.
Kentish Dances was commissioned by the Bromley Youth Music Trust for the Bromley Youth Concert Band - Michael Purton, conductor. Bromley is in Kent, the most southeasterly of all the English counties. Kent has a rich folk history and, like many parts of the country, its own home-grown dance tunes. What has become known in England as country dancing became popular during the Elizabethan period amongst the middle and upper classes, who preferred the style to the more formal galliards and pavans of the royal court. This suite is based on three dance tunes that originated in Kent; the first is a sort of moto perpetuo based on two lively 6/8 tunes, Dover Castle and The Fair Maid of Wickham. The middle movement uses the rather sombre Blackheath, contrasting it with the charming and apt Bromley Bells. The finale uses the sprightly We Are All Right at Canterbury and Ramsgate Pier, using the lilting Northdown Waltz as a lyrical contrast.
SKU: HL.14011052
ISBN 9780853602644. 8.25x11.75x0.215 inches.
Henr y Purcell (1659-1695) held numerous appointments at the Royal court and Westminster Abbey, and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral, ecclesiastical, operatic, theatrical, incidental, and chamber music were all enriched by his output.
Fantazias And In Nomines is a collection of his 15 Fantasies and 2 In Nomines, Z. 731-747. Purcell is credited with popularising the hitherto arcane form of the Fantasy, perhaps most famously in his Fanstasia Upon One Note, where a middle C is sustained throughout - in live performances this issometimes played by a volunteer from the audience!
This full score edition has been edited by the renowned musicologist Robert Thurston Dart.
SKU: BR.MR-2252A
The music of the Austrian Imperial-Royal court composer Fux takes us back to a time in which Vienna's musical life overwhelmingly followed Italian models.
ISBN 9790004487976. 9 x 12 inches.
The music of the Austrian Imperial-Royal court composer Fux takes us back to a time in which Vienna's musical life overwhelmingly followed Italian models. The Overture to Pulcheria also clearly reflects this influence. The trumpet is only used in the rapid sections which bracket the two Adagio sections for strings. The final movement is a fugue which concludes with a short, coda-like Adagio. This first edition is based on the manuscript from the Austrian National Library in Vienna.The music of the Austrian Imperial-Royal court composer Fux takes us back to a time in which Vienna's musical life overwhelmingly followed Italian models.
SKU: CL.011-4256-01
Courtly Procession and Dances brings the royal courts of medieval Europe to life at your next concert! The work opens with a stately brass and percussion fanfare. The courtly procession follows, and is played by the full ensemble. A slower, lyrical dance contrasts with the procession and eventually leads into a light-hearted and lively dance featuring very playable woodwind lines. The work concludes with a restatement of the processional. Courtly Procession and Dances is fresh, highly melodic, and great for variety in concert programming.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: HL.14011001
11.75x8.25x0.43 inches.
J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. He spent most of his life working as an organist and choirmaster, but was also employed as a composer a many different Royal Courts. However, his skill as an organist and composer for Organ is what gained him the reputation he enjoyed during his lifetime.
This is perhaps epitomised by his Fantasia and Fugue in G Minor (BWV 542), often referred to as the Great Fantasia and Fugue. It has been edited by Sir Frederick Bridge and James Higgs.
SKU: HL.49043952
ISBN 9790220134463. 0.38 inches. English.
This work's title comes from DM Thomas's dramatic poem on an imagined episode in the life of Cleopatra. Cleopatra offers any three men from her royal court a night of unbridled passion, in return for which they must forfeit their lives the next morning. Three men step forward, the last of which is the son she had by her brother Ptolemy, whom she gave away at birth. Unaware that Cleopatra is his mother, he gives her wine laced with mandragora and makes his escape before daybreak. The grisly tale provided the composer many opportunities for dramatic characterisation. The use of a narrator necessitated an episodic structure in which the music captures the atmosphere suggested by the text, and mirrors the different moods as the journey unfolds and the three characters live out their different fates.The title Deadly Pleasures was suggested by the content of D.M. Thomas's dramatic poem on an imagined episode in the life of Cleopatra. Cleopatra offers any three men from her royal court a night of unbridled passion, in return for which they must forfeit their lives the next morning. Three men step forward, the last of which (unbeknownst to all) is the son she had by her brother Ptolemy, whom she gave away at birth. Unaware that Cleopatra is his mother he gives her wine laced with the drug mandragora and escapes his grisly death before daybreak.The music of Deadly Pleasures skilfully captures the diff erent episodic moods of the text as the journey unfolds, and the three characters live out their diff erent fates.
SKU: BT.AMP-027-010
Jeremiah Clarke (c. 1674-1707) belongs to the generation of English composers following that of Henry Purcell. Not much is known about his early life, but by 1685 he was a chorister of the Chapel Royal, a group of liturgical musicians attached to the court. He held the post of organist at Winchester College from 1692 but later returned to London as Master of the Choristers at St Paul’s Cathedral. The Prince of Denmark’s March is perhaps his best-known work and was originally written for harpsichord, although Clarke later included it in a collection of pieces for wind instruments.Jerem iah Clarke (vers 1674-1707) fait partie de la génération de compositeurs anglais succédant celle d’Henry Purcell. On sait très peu de choses sur ses débuts musicaux. En 1685, il entre en tant que choriste la chapelle royale d’Angleterre, un ensemble de musiciens liturgiques au service de la cour. partir de 1692, il est organiste Winchester College avant de retourner Londres où il est nommé chef des chœurs de la Cathédrale Saint-Paul. The Prince of Denmark’s March (“La Marche du Prince du Danemarkâ€) est sans aucun doute la plus connue des œuvres de Clarke. Composée l’origine pour clavecin, elle est incluse plus tard par Clarke dans unrecueil de pièces pour instruments vent.
SKU: BT.AMP-027-140
