Romantic Symphonies For Timpani

SKU: CF.SAS9F

ISBN 9781491163221. UPC: 680160921973. Key: D minor.

Despite an impressive body of work, little is known about German composer Emilie Mayer (1812-1883). Mayer studied composition with Carl Loewe after the death of her parents, writing a total of eight symphonies, eight violin sonatas, twelve cello sonatas, six piano trios, seven string quartets, seven orchestral overtures, and numerous works for piano and voice. Mayer's works were acclaimed in Germany and she toured frequently performing her music, an unheard of practice for a single woman at the time. Regrettably, however, most of her work remained unpublished at the time of her death. Written in her 30s, Mayer's stormy fourth and final movement from her second symphony reveals her bold Romantic style and growing confidence as a composer. Arranged for string orchestra and timpani, this movement was painstakingly drawn from the handwritten score, offering a profound opportunity for students to experience the music of this incredible composer for the first time.

SKU: CY.CC2728

Symphony No. 4, also known by the composer himself as the Romantic was written in 1874, but revised several times and premiered in 1881 in Vienna. The subtitle actually does not refer to romantic love, but a medieval romance such as some of Wagner's operas. The movement titled Scherzo is full of adventure and vitality with a relaxed middle section. Bruckner himself hinted that the Scherzo movement was a Jadthema or hunting theme and Volkfest or people's festival. The hunting horns are calling, the brass are blowing their fanfares and it is a good day to be hunting. The main feeling from this movement is a strong feeling of the great outdoors. Mr. Johns has arranged this work for 14-part brass ensemble including optional Timpani. The instrumentation is: 4 Trumpets (including piccolo, C, B-flat and Flugelhorn), 4 Horns, 4 Trombones, Euphonium and Tuba (optional Timpani).
This work is suitable for advanced performers and is about 5 minutes in length.

SKU: AP.46722

UPC: 038081533575. English.

Though not as popular as his famous 8th and 9th symphonies, Dvorák's Symphony No. 7 in D minor is a masterpiece worthy of serious study and performance. The scherzo movement has been abridged and simplified from 6/4 to 6/8 for playability, but the spirit of Dvorák comes through clearly. Full of the composer's trademark hemiola, this arrangement by Todd Parrish gives melody and countermelodies to all parts and ends with an exciting, powerful conclusion. The optional timpani part gives even more strength to your performance. This title is available in MakeMusic Cloud.

SKU: BR.PB-5613

ISBN 9790004215104. 6.5 x 9 inches.

It takes on a new guise, however, in this volume of the Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy: the work is now supplemented by 12 winds and timpani, which the composer himself notated in a separate wind score. Since this partial score was rediscovered only a short while ago, all the recordings available to this day feature only a string orchestra accompanying the soloists. Assuming that the work had never been performed with winds and timpani before, the presumed world premiere of the Double Concerto with full symphony orchestra took place in Darmstadt on 27 February 1999 with Latica Honda-Rosenberg (violin), Beatrice Berthold (piano) and the Kammerphilharmonie Merck under the direction of Christian Rudolf Riedel.

SKU: CF.SPS78

ISBN 9781491152553. UPC: 680160910052. Key: Bb major.

Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.
Festival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .

SKU: BR.SON-619

Lemminkainens Happy Ending

ISBN 9790004803219. 10 x 12.5 inches.

The four orchestral scores which are brought together in Lemminkainen op. 22 can be understood with a bit of imagination as a kind of program symphony. All the more surprising is the Revision History that occurred after the first performances and versions in 1896 and 1897: Sibelius soon revised two pieces, the Swan of Tuonela (which was soon to become very popular) and Lemminkainen returns home (op. 22 no. 4). He had both scores printed, but stowed the two other pieces away in a drawer for nearly 40 years before he gave them their last polish. The entire cycle in its last authorized version was published in 1954, just as the composer wished. This happy ending is comprehensively documented in Volume I/12b of the Sibelius Complete Edition.

SKU: BR.SON-431

ISBN 9790004803103. 10 x 12.5 inches.

A mystifying question of versions surrounds the Italian: right after the world premiere in London, Mendelssohn is unsatisfied with his symphony. Since he no longer has the score with him, he writes it down afresh (except for the opening movement), but stops at three quarters of the way. In the meantime, trusted experts weigh in with their views. Fanny Hensel writes to her brother: I dont like the change in the first melody at all; why did you make it? Nevertheless, Felix continues to busy himself with the first movement, but ultimately finds no more time for it and leaves it primarily in the form of the complete early version of 1833, which is published posthumously and remains, to this day, a standard repertoire piece in all concert halls. The revised torso, in turn, was long ignored. It was published in this volume, yet it is clear that the three movements of the incomplete final version of 1834 were from the composers viewpoint not at all ready for publication, seeing that Mendelssohn had never critically reviewed them after having penned them.