Rock Philharmonic

SKU: BT.DHP-1165710-401

ISBN 9789043150248.

The 28-year-old Jon Lord, with no experience at all of writing for orchestra, composed this work in only three months in the lead-up to its premiere with the Royal Philharmonic Orchestra and Malcolm Arnold. It was his first workfor orchestra, launching his career as both a classical composer and a founding member of Deep Purple. It is notably rich in youthful invention, sound in structure, and sophisticated in craftsmanship. It broke new ground at thetime, and seems only to have grown in stature across the intervening years. The full score appears here in print for the first time ever, meticulously edited by the composer’s long-time musical collaborator Paul Mann.

De 28 jaar oude Jon Lord, die nog geen enkele ervaring had in het schrijven voor orkest, componeerde dit werk in slechts drie maanden in de aanloop naar de première met het Royal Philharmonic Orchestra en Malcolm Arnold. Hetbetreft dus zijn eerste compositie voor orkest en hij lanceerde hiermee zijn parallelle carrières als componist en medeoprichter van Deep Purple. Het werk is rijk aan jeugdige vindingrijkheid, goed opgebouwd en met vakmanschapgemaakt. Het was destijds baanbrekend en het lijkt in de loop der jaren alleen maar aan zeggingskracht te hebben gewonnen. De volledige partituur verschijnt nu voor het eerst op papier, in een consciëntieuze bewerking doorPaulMann, met wie de componist op muzikaal gebied al jaren samenwerkt.

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Der 28 Jahre alte Jon Lord, der bis dahin keine Erfahrung im Bereichder Orchesterkomposition hatte, brauchte für dieses Werk nur drei Monate, bis es mit dem Royal Philharmonic Orchestra unter der Leitung von Malcolm Arnold uraufgeführt wurde. Seinerstes Werk für Orchester ist der Beginn seinerparallelen Karriere als Komponist und Gründungsmitglied der Rockband Deep Purple. Das Stück zeichnet sich durch jugendlichen Einfallsreichtum, einen strukturierten Klang sowie ein ausgeklügeltes Könnenaus. Es galt damals alsbahnbrechend und seine Bedeutung scheint in der Zwischenzeit weiter gestiegen zu sein. Die Partitur erscheint hier zum allerersten Mal im Druck und wurde bis ins kleinste Detail von Paul Mann, einem langjährigenmusika lischenFreund des Komponisten, herausgegeben.

Jon Lord, gé de 28 ans et sans aucune expérience en composition pour orchestre, écrit cette œuvre en seulement trois mois l’approche de sa première avec le Royal Philharmonic Orchestra dirigé par Malcolm Arnold. Cette premièreœ uvre pour orchestre lança ses carrières parallèles de compositeur et membre fondateur de Deep Purple. Elle est particulièrement riche en invention juvénile, solide en structure et raffinée en artisanat musical. Innovante lors desa première, cette œuvre ne semble que gagner en stature depuis lors. La partition complète apparaît ici en publication pour la première fois, en édition méticuleusement préparée par le collaborateur du compositeurdepuislongtemp s, Paul Mann.

SKU: GI.G-10449

ISBN 9781622775613.

Crea ting excellence is not magic, the process known only to a few people with supernatural insights and abilities. . . . Vision, persistence, and strategy are the foremost reasons for the creation of excellence in musical performance and they are characteristics of all notably successful choral and orchestral conductors and their ensembles. — from the Introduction In Creating Excellence in Choirs and Orchestras, noted scholar and conductor Dennis Shrock uncovers the key factors and proven strategies that lead to the achievement of excellence in music ensembles at any level, from youth and volunteer groups to professional ensembles. With the use of numerous historical references and examples, primary source quotations, and music excerpts, Shrock lays out fourteen elements that contribute to an ensemble’s success. The first seven are foundational theoretical concepts: goals, focus, attitudes, structures, procedures, responsibility, and ontology. The subsequent seven elements address practical techniques: study, warm-ups, sound, cohesion, expression, conducting, and repertoire. While the book highlights the choral and orchestral mediums specifically, all concepts can be applied to any type of ensemble, from marching bands and wind ensembles to string quartets and vocal chamber groups. Further, the recommendations herein are not exclusively for the benefit of conductors. Music teachers, church musicians, ensemble members, and administrative staff will glean from these pages as well. According to Shrock, excellence is an attainable goal for anyone with a vision, a persistent commitment to that vision, and creative strategies to facilitate that vision’s realization. With this inspiring premise at its core, this insightful text guides readers as they embark on their own quest for musical excellence. Dennis Shrock is considered one of the top choral scholars in the United States and has received a number of awards for his work. He has conducted numerous choral and orchestral ensembles throughout his career, including the Chorale and Accademia Filarmonica at the University of Oklahoma, the Canterbury Choral Society, the Santa Fe Desert Chorale, the Oklahoma Symphony Orchestra, and Oklahoma City Philharmonic. He is also a noted author, having written three books for Oxford University Press as well as six books for GIA Publications.

SKU: HL.48024114

ISBN 9780851628363. UPC: 888680708900. 8.25x11.75 inches. Hawkes Pocket Score 1390.

Chorale (2001-02), for orchestra, is a kind of musical meditation on the chorale Es ist genug from Bach's cantata O Ewigkeit, du Donnerwort, itself a harmonisation of J R Ahle's 1662 hymn. Nick Kimberley's preface outlines the context of the Bach original and refers to Alban Berg's use of the chorale in his Violin Concerto almost 300 years later. In contrast to both of these works, Lindberg's Chorale has no extra-musical agenda. The composer explains that he took the harmonic structure of the chorale and embedded it in his own harmonies. “I make an analogy with the rise and fall of the tide. When the tide is in, the sea-bed is invisible; but when the tide goes out, you see the rock formation on the sea-bed.” Tribute is a short show-piece for full orchestra composed in 2004 as a gift to celebrate the 20th anniversary of Esa-Pekka Salonen's debut with the Los Angeles Philharmonic.

SKU: OT.NM00908

8.27 x 11.69 inches.

Eliezer Aharoni
The Non-Classic Bass Trombone (or Tuba)
This book covers every topic the non-classic bass trombone player needs to know, with exercises and examples in styles ranging from jazz to rock and Latin.
Contents:
Introduction by Alan Raph
The Non-Classic Bass Trombone
Prominent Bass Trombonists in Jazz and Light Music
Bass Trombone in Other Styles
Bass Trombone in Small Groups/Ensemble Music with Bass Trombone
Equipment
Doubling
Practicing - Goals and Achievements
Some General Topics
Bass Lines in Different Styles
Characteristic Phrases
Studies
Guest Composers Section
The Mute Shop for Bass Trombone and Multiple Mutes
Duets
Bibliography and Discography
Includes 2 CDs (Demo performance and playbacks) performed by Micha Davis, Bass Trombonist, Israel Philharmonic Orchestra

Eliezer Aharoni is the bass trombonist of the Jerusalem Symphony Orchestra
Softcover, 160 pages, 2008.

SKU: PR.41641295L

UPC: 680160634217. 11 X 14 inches.

In 2004, the Maryland Classic Youth Philharmonic commissioned this overture from Chen Yi to premiere in celebration of the opening of the Music and Arts Education Center at Strathmore, in Rockville, MD. The 5-minute CELEBRATION is a bright and cheery, vividly energetic piece suitable for youth orchestra.

SKU: PR.11641861SP

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.