Latin Themes For Flute

SKU: AP.1-ADV8311

UPC: 805095083118. English.

Mike Curtis' stay in the city of Guanajuata in Central Mexico inspired this great musical celebration, filled with evocative, ethnic textures and colours. Titles: I. Plaza del Baratillo * II. El Burro Viejo * III. La Banda del Estado * IV. Dulcinea * V. Sancho Danza * VI. La Rana Loca.

SKU: CA.9700609

ISBN 9790007238865. Key: G major. Language: Latin.

Several elements contribute to the Christmas character of this mass, which is distinguished by the fine skillfulness of its composition: structural means, such as motives in triads, the symbol of gently rocking, traditional themes and a fitting instrumentation with trumpets and flutes. Because of its catchy, easiliy graspable quality this Messa Pastorale, published here in a first edition, is highly suited for liturgical use. Score and parts available separately - see item CA.9700600.

SKU: CA.2730109

ISBN 9790007201272. Key: F minor. Language: Latin.

In 1856, the year in which Mozart's one-hundredth birthday was elaborately celebrated, Franz Lachner composed the Requiem in F minor op. 146. It became his most well-known and most important work. Lachner's intensive study of Mozart's music on the occasion of the commemorative year lends credence to that fact that it was not inspired by a personal loss, such as a death in the family or among his friends. Although closer examination proves that his music differed essentially from Mozart's, Lachner's work shows a clear expression of his admiration for him. The parallels between the two Requiems range from the characteristics of the organization of the text and the formal structure, to the similar treatment of individual sections, themes and motives. Score and parts available separately - see item CA.2730100.

SKU: CA.9700605

ISBN 9790007129170. Key: G major. Language: Latin.

Several elements contribute to the Christmas character of this mass, which is distinguished by the fine skillfulness of its composition: structural means, such as motives in triads, the symbol of gently rocking, traditional themes and a fitting instrumentation with trumpets and flutes. Because of its catchy, easiliy graspable quality this Messa Pastorale, published here in a first edition, is highly suited for liturgical use. Score available separately - see item CA.9700600.

SKU: CA.9700614

ISBN 9790007238902. Key: G major. Language: Latin.

Several elements contribute to the Christmas character of this mass, which is distinguished by the fine skillfulness of its composition: structural means, such as motives in triads, the symbol of gently rocking, traditional themes and a fitting instrumentation with trumpets and flutes. Because of its catchy, easiliy graspable quality this Messa Pastorale, published here in a first edition, is highly suited for liturgical use. Score and part available separately - see item CA.9700600.

SKU: CA.9700611

ISBN 9790007238872. Key: G major. Language: Latin.

Several elements contribute to the Christmas character of this mass, which is distinguished by the fine skillfulness of its composition: structural means, such as motives in triads, the symbol of gently rocking, traditional themes and a fitting instrumentation with trumpets and flutes. Because of its catchy, easiliy graspable quality this Messa Pastorale, published here in a first edition, is highly suited for liturgical use. Score and part available separately - see item CA.9700600.

SKU: CA.9700619

ISBN 9790007133771. Key: G major. Language: Latin.

Several elements contribute to the Christmas character of this mass, which is distinguished by the fine skillfulness of its composition: structural means, such as motives in triads, the symbol of gently rocking, traditional themes and a fitting instrumentation with trumpets and flutes. Because of its catchy, easiliy graspable quality this Messa Pastorale, published here in a first edition, is highly suited for liturgical use. Score and parts available separately - see item CA.9700600.

SKU: PR.161000820

UPC: 680160610822. 9 x 12 inches. Text: Santiago Vaquera-Vasquez; Dan Welcher. Santiago Vaquera-Vasquez, Dan Welcher. Original story by Santiago Vaquera-Vasquez; Lyrics by Dan Welcher.

Commissioned for the Kingsville (TX) Independent School District and its thriving music department, Welcher has created A Musical Fable for Children, based upon a story by Santiago Vaquera-Vasquez. A narrator tells the tale of two children on opposite sides of the border and the magical creatures who allowed them to see as the other sees. Welcher uses musical themes and instruments to help identify the characters for the audience. The musical play was performed at the Kingsville campus, as well as six other elementary schools in the district.
The Need to See is a theater piece for children, featuring a narrator/singer and five instrumentalists. Designed to show children (aged 8-10) a fable about acceptance and diversity, the work also exposes children to live musicians in a highly portable, suitable-for-classroom theater piece.The narrator/singer begins by teaching the children a well-known Mexican folk tune, “Naranja Dulce”, which leads directly into the story.  The fable concerns two figures from folklore: Don Conejo (the rabbit god) and Don Coyote (the coyote god).  These two trickster/adversaries take on the task of helping Isabella, an American girl, and Tomàs, a Mexican boy, understand each other’s culture—by means of a trick.  The two children, living on opposite sides of the Rio Grande in Texas and Mexico, have been taught to fear el otro lado (“the other side”), and to stay away from the river.  This causes both children to be nervous and afraid, and Conejo and Coyote decide to do something about that.Borrowing from another well-known tale, writer Santiago Vaquera-Vàsquez has the two trickster-deities perform a bit of hocus-pocus, exchanging the two childrens’ eyes for one day, so they can “see” through someone else’s perspective.  The result, told in two languages with narration, song, and constant music, allows the children in the audience to participate as singers, and also as spectators to a tale that has relevance and contemporary meaning.   Employing three familiar songs from Latin American culture (“Naranja Dulce”, “Tengo una Muñeca”, and “Mambru se fue a la Guerra”), the piece takes its audience on a journey both familiar and new—and ultimately enlightening.

SKU: CF.CPS226F

ISBN 9781491153208. UPC: 680160910700.

Inspired by the memory of an influential music educator, Carol Brittin Chambers has woven a multitude of grooves, colors, and uplifting themes into To Create a Voice. Chambers has attempted to convey distinct moods and emotions that this educator tried to instill in his students. In honor of this dynamic teacher, you will hear Hot Cross Buns cleverly placed throughout the composition.
To Create a Voice was commissioned by the Valley Concert Band in Stockton, California. The piece premiered in October 2017, in memory and celebration of Chris Anderson, a local musician and educator.When writing this piece, I tried to convey certain moods and emotions throughout: soulful at the beginning with calm woodwind chords and solo trombone; increased energy throughout the various sections of the piece; exploration of different grooves and colors; an uplifting, emotional ending that leaves the listener with a sense of how positive and loving Chris was.This piece is largely inspired by a specific quote from Chris:Most people would consider the sounds students first make on their instruments to be cringe-worthy, but to me that’s music to my ears, because that’s the first time students put a voice to their instrument. Over time those voices become stronger; they become clear, more confident, and get to a point where they use those voices to communicate with each other, and to their audiences.To relate to the first notes on the instrument idea, I used motifs based on the first notes most beginners ever play, do-re-mi, which are introduced at the beginning of the piece with the trombone solo, Chris’ instrument. During the section at m. 15, the brass introduce a chorale that I named Chris’ Theme while the woodwinds keep reminding us of do-re-mi. Later in the piece (mm. 71 and 79), I use these notes again, but in reverse, which becomes a reference to the first song most beginners learn, Hot Cross Buns. This section is also meant to portray Chris’ quirky and joking side. In mm. 75 and 83, Chris’ Theme presents itself again a couple of times in response to Hot Cross Buns.Toward the end, at the uplifting moment (m. 97), do-re-mi is heard again, but this time in harmony with mi-fa-sol. This represents the ultimate satisfaction we all feel as musicians when we have finally progressed enough to play in harmony with others. The half-time feeling in 3 at that moment also has significance, relating (rhythmically) to those important three notes again.I really hope you enjoy performing and listening to this piece as much as I have enjoyed creating it!