Format : Score and Parts
SKU: HL.49016185
ISBN 9790001145411. UPC: 884088202507. 9.0x12.0x0.141 inches.
As a counterpart to theOrgan Symphony No. 1 Pater Noster (ED 9937), the Organ Symphony No. 2 offers softer and more mysterious (Marian) sound worlds, sketching stages of Mary's life: an adoring Salve Regina grows from the mystic source, followed by Berceuse pour Marie as a lullaby of the Christmas events. The third movement Mater Dolorosa falls back on the well-known Gregorian sequence Stabat Mater, taking Mary's pain at the cross as its central theme. The finale treats the Ave Maris Stella in a crescendo from pp to ff in a positive and solemn manner, in memory of Mary's assumption. It is advisable to use an organ with at least three manuals.
SKU: HL.49010025
ISBN 9790200204810. UPC: 073999596144. 5.25x7.5x0.095 inches.
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
SKU: HL.49010050
ISBN 9790200205091. 5.25x7.5x0.167 inches.
SKU: HL.49010000
ISBN 9790200204568. UPC: 884088096304. 5.25x7.5x0.154 inches.
SKU: HL.49010045
ISBN 9790200205015. UPC: 073999277265. 5.25x7.5x0.248 inches.
SKU: HL.49010015
ISBN 9790200204728. UPC: 073999593365. 5.25x7.5x0.132 inches.
SKU: HL.49010027
ISBN 9790200204834. UPC: 073999487336. 5.25x7.5x0.134 inches.
SKU: HL.49010035
ISBN 9790200204926. UPC: 073999563269. 5.25x7.5x0.169 inches.
SKU: HL.49009941
ISBN 9790200204025. UPC: 073999781991. 5.25x7.5x0.229 inches.
SKU: HL.49009988
ISBN 9790200204452. 5.25x7.5x0.108 inches.
SKU: HL.49010026
ISBN 9790200204827. 5.25x7.5x0.093 inches.
SKU: HL.49010022
ISBN 9790200204797. 5.25x7.5x0.171 inches.
SKU: HL.49010020
ISBN 9790200204773. UPC: 073999581935. 5.25x7.5x0.258 inches.
SKU: HL.49015922
ISBN 9790200205022. 5.25x7.5x0.172 inches.
SKU: HL.49010021
ISBN 9783795763008. UPC: 841886012318. 5.25x7.5x0.253 inches.
SKU: HL.49010049
ISBN 9790200205084. UPC: 884088085896. 5.25x7.5x0.137 inches.
SKU: AP.42177S
UPC: 038081485935. English.
Expose your students to one of the great symphonies of the 19th century. Numerous teaching opportunities are present for articulation, phrasing, and the clarinet register key. A great contest or concert piece exploring the music of Dvorák! (4:30) This title available in MakeMusic Cloud.
SKU: HL.48016562
UPC: 073999656831. 8.5x11.0x0.234 inches.
Contents: Andante from Symphony No. 104 (Haydn) * Larghetto from Concerto Grosso No. 12 (Handel) * Adagio from Symphony No. 3 (Mendelssohn) * Andante from Symphony No. 5 (Schubert) * Largo from New World Symphony (Dvorak) * Songs My Mother Taught Me (Dvorak) * Andante from Symphony No. 4 (Schubert) * Largo from Symphony No. 88 (Haydn) * Silent Woods (Dvorak) * Melody from Violoncello Concerto (Dvorak) * Andante from Violin Concerto (Mendelssohn) * Adagio from Symphony No. 97 (Haydn) * Finale from Symphony No. 5 (Dvorak) * Andante Cantabile from Symphony No. 5 (Tchaikovsky).
SKU: PR.16500104F
ISBN 9781491132159. UPC: 680160681082.
Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.
SKU: BT.CMP-1011-06-040
9x12 inches. English.
Developing an intimate understanding of the worldâ??s greatest musical accomplishments is an important part of a music education. Every musician should have the joy of playing the music of Mozart, and the G-minor Symphony (Number 40) is one of Mozartâ??s signature works, and one of the greatest musical achievements of all time. Stephen Bulla has carefully and effectively brought the themes of the G-minor Symphony finale to the concert band stage with this delightful transcription/arrangement. Your band wonâ??t be playing a â??band arrangementâ?- theyâ??ll be playing MOZART! Donâ??t forget the opportunity for a music history lesson built into this piece.Masterful!
SKU: HL.49003135
ISBN 9780946535132. UPC: 884088991623. 8.25x11.75x0.436 inches. English.
This anthology of 72 music examples, consisting of the Teacher's Manual, Pupil's Questions, Music Book and two recordings on CD or cassettes, is intended to provide comprehensive resource materials for the listening component of the GCSE music syllabuses. The extracts have been selected especially to illustrate the periods, styles and rudiments of music encompassed within the syllabuses, and the four components of the publication produced to ensure maximum assistance to the teacher in the classroom. Selected contents: MUSIC IN THE LATE RENAISSANCE O quam gloriosum est regnum * T. Morley: MUSIC IN THE BAROQUE ERA: H. Purcell: Hark, each tree (from Ode for St Cecilia's Day) * A. Vivaldi: Second Allegro (from Op. 3 No. 11) * G.F. Handel: Lascia ch'io * J.S. Bach: Erschienen ist der herrliche Tag (BWV 629) * F. Couperin: Le Petit-Rein MUSIC IN THE ROMANTIC PERIOD: F. Schubert: Am Meer (from Schwanengesang) * H. Berlioz: Un Bal (from Symphonie fantastique) * F. Chopin: Mazurka (Op. 7 No. 5) * R. Schumann: Fantasiestuck (Op. 73 No. 1) * R. Wagner: Prelude (to Tristan and Isolde) * R. Strauss: Epilog (from Till Eulenspiegels lustige Streiche) * MUSIC IN THE TWENTIETH CENTURY: B. Bartok: Third movement (from Sonata for two Pianos and Percussion) * K. Stockhausen: Zyklus * C. Berberian: Stripsody * JAZZ AND POP: F. Molton: Peace in the Valley * Bix Beiderbecke and his Gang: Jazz Me Blues * The Platters: Only You * E. Fitzgerald: Mack the Knife * S. Getz and A. Gilberto: The Girl From Ipanema and more.
SKU: BR.OB-5328-19
ISBN 9790004333846. 10 x 12.5 inches.
Cesar Franck wrote his Symphony in D minor in 1887/88; in spite of the work's lukewarm reception at its world premiere on 17 February 1889, the work was published during his lifetime. It was not until a few years later that the established conductors dared perform this work more frequently . It marked the inevitable triumph of a work which had once caused such a furor and whose individuality of conception burst the framework of the genre (double tonality of D and F minor in the opening movement; the combination of Andante and Scherzo in the central one; the recapitulation of the main themes and motifs of the previous movements in the finale). The work was finally accepted into the concert repertoire for good around the turn of the century, not least through the good offices of influential critics and composers.Just as with the previously published Carnival of the Animals (PB/OB 5321) by Saint-Saens, Franck's work also raises many questions concerning its origin and history. Peter Jost based his work on the first edition (the autograph was destroyed in a fire in 1935) as well as on the piano reduction (four-handed) by the composer.A major work of the late-romantic repertoire, Cesar Franck's only symphony joins the ranks of Breitkopf & Hartel's new orchestral editions which follow the principles of Source Criticism for Practical Use.
SKU: BR.OB-5328-30
ISBN 9790004333877. 10 x 12.5 inches.