SKU: HL.50579125
SKU: FG.55011-554-5
ISBN 9790550115545.
Harri Wessman (b. 1949) is interested in all aspects of music that may be expressive, without in any way ignoring the possibilities of melody. He himself describes his harmonic method as a kind of contrapuntally treated jazz harmony. During recent years pedagogic music has become a more and more central area in his output with an emphasis on creating repertoire for budding musicians, from beginners to young professionals. I don't write children's music. Stylistically I write in the same way as for professionals; technically, the pieces just have to be easier to play. Concertino No. 2 for piano and chamber orchestra was commissioned by a Finnish press house Yhtyneet Kuvalehdet Oy for the inauguration of their new office building in 1987. According to the original plan the concertino was to be used in an advertising film of the company. A melody with wide arch which can be heard in the midpoint of the piece, first played by the orchestra and then repeated with the piano, was intended to be the theme song of the film. The 10 minutes duration and small orchestra (flute, oboe, clarinet and strings) makes this one movement piece suitable also for young orchestra players.
SKU: AP.1-ADV40002
UPC: 805095400021. English.
A three-movement piece which combines orchestral vocabulary with a variety of groove oriented music such as Latin, jazz, and American folk music. It can be performed either with any size string orchestra and winds, or with string sextet (2 violins, 2 violas, cello, bass) and woodwind quintet (flute, oboe, clarinet, French horn, bassoon). The first two movements, allegro moderato and lento, showcase the lyrical side of the saxophone. The third movement, allegro molto, involves a good deal of virtuosity and requires improvisational skills over modal chords.
SKU: AP.1-ADV40000
UPC: 805095400007. English.
A three-movement piece which combines orchestral vocabulary with a variety of groove oriented music such as Latin, jazz, and American folk music. It can be performed either with any size string orchestra and winds, or with string sextet (2 violins, 2 violas, cello, bass) and woodwind quintet (flute, oboe, clarinet, French horn, bassoon). The first two movements, allegro moderato and lento, showcase the lyrical side of the saxophone. The third movement, allegro molto, involves a good deal of virtuosity and requires improvisational skills over modal chords. Optional solo part for alto saxophone is included.
SKU: AP.1-ADV40003
UPC: 805095400038. English.
A three-movement piece which combines orchestral vocabulary with a variety of groove oriented music such as Latin, jazz, and American folk music. It can be performed either with any size string orchestra and winds, or with a string sextet (2 violins, 2 violas, cello, and bass), and woodwind quintet (flute, oboe, clarinet, French horn, and bassoon). The first two movements, allegro moderato and lento, showcase the lyrical side of the saxophone. The third movement, allegro molto, involves a good deal of virtuosity and requires improvisational skills over modal chords.
SKU: AP.1-ADV40001
UPC: 805095400014. English.
A three-movement piece which combines orchestral vocabulary with a variety of groove oriented music such as Latin, jazz, and American folk music. It can be performed either with any size string orchestra and winds (set includes 8,6,4,4,4,4 strings and 2 sets of woodwind parts), or with string sextet (2 violins, 2 violas, cello, bass) and woodwind quintet (flute, oboe, clarinet, French horn, bassoon). The first two movements, allegro moderato and lento, showcase the lyrical side of the saxophone. The third movement, allegro molto, involves a good deal of virtuosity and requires improvisational skills over modal chords.
SKU: HL.49018017
ISBN 9790001152419. 9.0x12.0x0.2 inches.
After completing his studies with Zoltan Kodaly, the Hungarian composer Mathias Seiber (1905-1960) first worked as a musician in a dance orchestra on an ocean liner which gave him the opportunity to listen to jazz music in New York. From 1928 he taught the first jazz class worldwide at Dr. Koch's Conservatoire in Frankfurt. In the winter term of 1928/29, 19 students had registered with whom he gave a public concert on 3 March 1929 which was broadcast by Radio Frankfurt. After the Nazis had seized power, the jazz class was dissolved, Seiber lost his job and emigrated to London.In 1932 he wrote his piano cycle 'Leichte Tanze' (Easy Dances), one of the early examples of the adoption of jazz forms and styles in so-called serious music. The present arrangement for orchestra is easily playable and is aimed at youth and amateur orchestras. Instrumentation: 2 flutes, clarinet, oboe (ad lib.), alto saxophone, trumpet, bassoon and strings. Movements: Cake Walk - Novelty Foxtrot - Gipsy Tango - Waltz - Walzer - Blues - Charleston.
SKU: PR.11642013S
UPC: 680160682164.
SKU: PR.11642013L
UPC: 680160682171.
SKU: PR.446412600
ISBN 9781598063936. UPC: 680160602933. 9x12 inches.
Shadows is Ellen Zwilich’s fifth piano concerto and the second concerto that Zwilich has composed for pianist Jeffrey Biegel and a consortium of many orchestras. The composer describes Shadows as a work evoking the recollection of ancestral, religious, and cultural roots in people’s constant migration. The final movement reflects the triumph of the human spirit over natural and man-made disasters. Duration: 20’.
SKU: PR.41641651L
UPC: 680160675968. 11 x 14 inches.
SKU: PR.416416510
UPC: 680160675951. 9 x 12 inches.
SKU: CF.C448L
UPC: 680160920785.
SKU: CF.C448F
UPC: 680160920778.
SKU: HL.49001763
ISBN 9790001023788. 8.25x11.75x0.475 inches.
SKU: HL.49001764
ISBN 9790001023795. 9.0x12.0x0.225 inches.
SKU: HL.49001762
ISBN 9790001023771. 9.0x11.75x0.155 inches.
SKU: FP.FHP06
ISBN 9790570504053.
The heartachingly beautiful Tallis Remembered is a timeless little piece composed by outstanding British composer Peter Hope for the 2013 William Alwyn Festival, where it featured a violin instead of the clarinet. The work was inspired by Wendy Cope’s wistful poem ‘Tallis’s Canon’ and is effectively a set of through-composed variations on Tallis’s well-known tune. A recording of the work can be heard on the CD 'Windblown: Sonatas for Wind Instruments by Peter Hope'. It has been regularly featured on Radio 3.Hope has written and arranged for many internationally known names, including Jose Carreras and Kiri te Kanawa, and other composers including John Williams and James Horner. His original compositions include the Suite: Ring of Kerry (which won an Ivor Novello Award in 1968/9), a Trumpet Concerto, performed by Elgar Howarth, a Concertino for bassoon and orchestra, recorded by Graham Salvage with the Royal Ballet Sinfonia, and a Recorder Concerto, recorded by John Turner with the Manchester Camerata Ensemble. His Bramall Hall Dances, for recorder and guitar/piano are published by Forsyth Brothers Ltd. and have become a standard repertoire work for the recorder.
SKU: PR.165001000
ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.
Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title.This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.