SKU: PR.164002120
UPC: 680160037582.
Works of chamber music including flute and strings are not nearly as numerous as those for clarinet, or even the oboe. Probably the reason for this is the less assertive, more pure tone the flute possesses - it can't compete for volume or range with the clarinet, except in its top octave, and the oboe's tone is more penetrating and easily discerned from within a string texture. Consequently, composers who have written for flute and strings have done so in lightweight divertimento works: compare, for instance, the delicate flute quartets of Mozart with his monumental quintet for clarinet and strings. When Karl and Joan Karber approached me with the ideas of writing a work for flute and string trio, I originally thought it would be best to write a humorous, rather offhand piece - but a look at their repertoire (mostly comprised of smaller works of the Rococo period) convinced me that it was the last thing they needed. In spite of the challenge (or maybe because of it?), I determined to write a large work, and a serious work. Zephyrus (named for the God of the West Wind, in deference to the flute) is a three-movement work, with each movement cast in a very different form, but all three being built of the same twelve-note series. There is also a rhythmic motive and a pair of themes that appear in all three movements. The first movement plays with the idea of contrast and persuasion. The flute, at the outset, is the hell-for-leather protagonist, charging and swooping around the strings - who seem oddly unconcerned by his passion. Indeed, they have a more somber song to sing - and as the movement unfolds, the flute becomes less and less active, while the strings become increasingly enlivened. By the midpoint, when all four instruments are finally in the same meter and the same tempo, the flute's energy has finally infected the other three players, and this energy does not let up until the movement's abrupt final cadence. The second movement begins with a tag from the first - as if the energy left over was too great to simply stop. At length, though, a very poignant flute melody appears over an almost bluesy harmony in the strings. After this has been fully exposed, a slight increase in motion, marked gently rocking in triplets, features a theme-fragment from Leonard Bernstein's Symphony No. 2 (Kaddish). Bernstein died as I was writing this work, and it seemed quite natural to encourage what was already implicit in the music, and create an Elegy for L.B. The music rises and peaks, then in the recapitulation of the opening the Kaddish theme reappears, as the ensemble suggests a gentle song of sleep. The final movement is a Rondo-Variations form, with the slight alteration of adding the main theme of the second movement in what would be the trio of the form. The ritornello theme is a kind of ethnic dance music, almost an allusion to the Klezmer ensembles of Eastern Europe. The successive episodes between the ritornelli are loosely organized variations on the basic theme, but always beginning with a metric modulation, a rhythmic changing of gears. The movement reaches and apex of speed and furious pulsing, then abruptly pirouttes, and finishes. Zephyrus was written between April and November of 1990 in Austin, Aspen, and Honolulu, and is dedicated to Karl Kraber and The Chamber Soloists of Austin. --Dan Welcher.
SKU: PR.16400212S
UPC: 680160037605.
SKU: PR.11441684S
UPC: 680160625253. 9 x 12 inches.
On the occasion of its 30th anniversary, the ensemble Music From China commissioned Chen Yi for a new work, which became Three Dances from China South, scored for Chinese instruments. Its three descriptive movements (Lions Playing Ball, Bamboo Dance, Lusheng Dance) are each inspired by folk dances from the southeastern provinces of China.My chamber ensemble work Three Dances From China South is commissioned by Music From China tocelebrate its 30th anniversary, and scored for Chinese traditional instruments dizi, erhu, pipa, and zheng. The commission has been made possible by the Chamber Music America Classical CommissioningProgram, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund. The world premiere is given at Weill Recital Hall in Carnegie Hall in New York City, on November 21, 2014. My Three Dances From China South is dedicated to Susan Cheng, the founder and Executive Director of Music From China, to celebrate the 30th anniversary of MFC. There are three movements in my Three Dances From China South for dizi, erhu, pipa, and zheng. Thematerial in the first movement Lions Playing Ball is drawn from a folk tune played in the accompanyingensemble for the folk dance under the same title in Chaozhou region in Guangdong province. The image of the folk dance is vivid and entertaining. The movement includes several variations on the theme. The variation methods are inspired by the various rhythmic patterns used in the traditional ensemble playing. The melodic material features a special mode with a tritone interval taken from the folk tune. There are also lyrical sections with polyphonic layers in the variations.The music in the second movement is inspired by the folk Bamboo Dance, which is popular in Li minoritypeople from Hainan Island in the south. The aged old folk dance is for ritual ceremony and harvest celebration in the history, in which there are pairs of people holding the ends of the long bamboo rods and clapping them loudly in stable pulse, for groups of dancers to dance between the bamboo shapes on the floor, in musical rhythms and ensemble patterns. A musical motive with a jumping interval and articulation is used throughout the movement.The third movement is called Lusheng Dance. I have witnessed the folk dance performance of the Dong minority people in Guangxi province in the 1980’s. The exciting scene inspired me to imitate the large lusheng ensemble playing style in my ensemble of four Chinese instrumental musicians without using the sheng (a wind instrument with metal pipes that is popular in concert music, and similar to the folk lusheng). On top of the rhythmic patterns, I imitated a two--voice folk song of Zhuang minority people in the same province. The melody is played by the leading erhu and dizi.—Chen Yi.
SKU: HL.48024084
ISBN 9781784541781. UPC: 888680708528. 8.25x11.75 inches. Hawkes Pocket Scores 1594.
Speranza is Turnage's most important orchestral score to date, as close to a symphony as any in his output. The four movements are titled by the Arabic, German, Gaelic and Hebrew words for 'hope', yet this optimism appears to be hard-won as if through a century of conflict. The work grew from reflections on the post-Holocaust poetry of Paul Celan, and the music is coloured by lamenting melodies – Palestinian, Jewish and Israeli – supplemented by the use of the Armenian dudak and Eastern European cimbalom. Other than the scherzo-like Irish-themed third movement the mood is brooding with a sequence of processions and variations illuminated by shafts of orchestral light. Full orchestra materials available on hire. Suitable for advanced standard performers.“Mark-Anthony Turnage's monumental Speranza is an act of prayer which goes straight to the heart...The very act of creation, for these resplendent forces, is an expression of hope, even if the tale it tells is tragic...The final Jewish melody blossoms into a majestic surge, pulling motifs from the work together.” –BBC Music Magazine
SKU: GI.G-M522
Now available on SmartMusic! The CD for Book 2 from the Do It! Play in Band series by James O. Froseth includes: • Modeling by all the artists listed below. • Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. • Music of other times, including 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. • The repertoire and recorded contexts are motivating, informative, and entirely musical. • Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. • A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. • An individualized format allows students to progress at different rates with a theme and variation format. • Ear training and improvisation are integral parts of the lesson format. • Artist performers set musical standards in sound with more than 80 great performances on CD for every instrument, and one CD lasts for the entire book! • Performers include: Michael Henoch, Oboe (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser, Clarinet (Cleveland State University), Brian Bowman, Euphonium/Baritone (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton, Percussion (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig, Tuba (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs, Trumpet (Plymouth Symphony Orchestra). This CD is for all the instruments for Book 2.
SKU: GI.G-M523
ISBN 9781579992378. English.
This major band method by James O. Froseth has it all: Artist performers set musical standards in sound with more than 80 great performances on CD for every instrument, and one CD lasts for the entire book! Performers include: Michael Henoch (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser (Cleveland State University), Brian Bowman (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs (Plymouth Symphony Orchestra). Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. Music of other times includes 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. The repertoire and recorded contexts are motivating, informative, and entirely musical. Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. An individualized format allows students to progress at different rates with a theme and variation format. Ear training and improvisation are integral parts of the lesson format. A 550+ page Teacher's Resource edition and musical score provides options galore, including a double CD with listen and play exercises for group instruction, supplementary exercises for technical development, and resource material for improvisation and composition. All the resources needed for teaching to the National Standards for Music are provided (coordinates with rhythm flashcards). Book 2 features innovative, but optional use of world percussion instruments, as developed by percussion educator Steve Houghton. Click here to download the audio recordings for the Book 2 Teacher's Edition.
SKU: GI.G-M498
ISBN 9781579992255. English.
Now available on SmartMusic! The Alto Clarinet book and audio recordings (see below) from the Do It! Play in Band series by James O. Froseth includes: Modeling by Albert Blaser (Cleveland State Unviersity) and Deborah Chodacki (Louisiana State University). Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. Music of other times, including 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. The repertoire and recorded contexts are motivating, informative, and entirely musical. Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. An individualized format allows students to progress at different rates with a theme and variation format. Ear training and improvisation are integral parts of the lesson format. Artist performers set musical standards in sound with more than 80 great performances for every instrument! Performers include: Michael Henoch, Oboe (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser, Clarinet (Cleveland State University), Brian Bowman, Euphonium/Baritone (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton, Percussion (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig, Tuba (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs, Trumpet (Plymouth Symphony Orchestra). Download the audio recordings at: giamusic.com/doit2media.
SKU: GI.G-M518
ISBN 9781579992354. English.
Now available on SmartMusic! The Tuba book and audio recordings (see below) from the Do It! Play in Band series by James O. Froseth includes: Modeling by Fritz Kaenzig (University of Michigan). Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. Music of other times, including 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. The repertoire and recorded contexts are motivating, informative, and entirely musical. Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. An individualized format allows students to progress at different rates with a theme and variation format. Ear training and improvisation are integral parts of the lesson format. Artist performers set musical standards in sound with more than 80 great performances for every instrument! Performers include: Michael Henoch, Oboe (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser, Clarinet (Cleveland State University), Brian Bowman, Euphonium/Baritone (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton, Percussion (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig, Tuba (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs, Trumpet (Plymouth Symphony Orchestra). Download the audio recordings at: giamusic.com/doit2media.
SKU: GI.G-M502
ISBN 9781579992279. English.
Now available on SmartMusic! The Bassoon book and audio recordings (see below) from the Do It! Play in Band series by James O. Froseth includes: Modeling by Richard Beene (Colburn School Conservatory of Music). Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. Music of other times, including 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. The repertoire and recorded contexts are motivating, informative, and entirely musical. Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. An individualized format allows students to progress at different rates with a theme and variation format. Ear training and improvisation are integral parts of the lesson format. Artist performers set musical standards in sound with more than 80 great performances for every instrument! Performers include: Michael Henoch, Oboe (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser, Clarinet (Cleveland State University), Brian Bowman, Euphonium/Baritone (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton, Percussion (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig, Tuba (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs, Trumpet (Plymouth Symphony Orchestra). Download the audio recordings at: giamusic.com/doit2media.
SKU: GI.G-M516
ISBN 9781579992347. English.
Now available on SmartMusic! The Baritone/Euphonium book and audio recordings (see below) from the Do It! Play in Band series by James O. Froseth includes: Modeling by Brian Bowman (Duquesne University). Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. Music of other times, including 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. The repertoire and recorded contexts are motivating, informative, and entirely musical. Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. An individualized format allows students to progress at different rates with a theme and variation format. Ear training and improvisation are integral parts of the lesson format. Artist performers set musical standards in sound with more than 80 great performances for every instrument! Performers include: Michael Henoch, Oboe (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser, Clarinet (Cleveland State University), Brian Bowman, Euphonium/Baritone (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton, Percussion (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig, Tuba (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs, Trumpet (Plymouth Symphony Orchestra). Download the audio recordings at: giamusic.com/doit2media.
SKU: GI.G-M514
ISBN 9781579992330. English.