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Gilbert And Sullivan: The Mikado (Vocal Score)

Gilbert And Sullivan: The Mikado (Vocal Score)

After creating eight works for the stage, Gilbert and Sullivan outdid themselves with a macabre farce set in the Far East. It is the most popular Gilbert and Sullivan opera, and arguably the most popular opera ever written. This may have had something to do with the vogue for all things Japanese at the time, but it is also due to the universal appeal of the characters - every culture has a bribe-hungry Pooh-Bah, giggling schoolgirls, and a pathetic, elderly Katisha.This is the edition of the Vocal Score, edited by Bryceson Treharne.

DKK 224.00
1

Henry Cowell: Ancient Desert Drone (Arr. James Worman)

Henry Cowell: Ancient Desert Drone (Arr. James Worman)

Ancient Desert Drone was composed for Orchestra in 1940 at the request of Percy Grainger, who encouraged the idea of using a single pitch drone throughout the work (similar to Grainger's own The Immovable Do ), and to whom the piece is dedicated. While the work suggests an Eastern charm with its distinctive mode and primitive rhythms, Cowell himself stated there was no particular programmatic intent. This transcription for band is an exotic and welcome addition to the repertoire for winds. Dur: 5:00 Recorded by the Trinity University Symphonic Wind Ensemble - James Worman, conductor.

DKK 127.00
1

Gilbert And Sullivan: The Mikado (Libretto)

Gilbert And Sullivan: The Mikado (Libretto)

After creating eight works for the stage, Gilbert and Sullivan outdid themselves with a macabre farce set in the Far East. It is the most popular Gilbert and Sullivan opera, and arguably the most popular opera ever written. This may have had something to do with the vogue for all things Japanese at the time, but it is also due to the universal appeal of the characters - every culture has a bribe-hungry Pooh-Bah, giggling schoolgirls, and a pathetic, elderly Katisha. This is the Schirmer edition of the Libretto, in English only.

DKK 79.00
1

Gilbert And Sullivan: The Mikado (Chorus Part)

Gilbert And Sullivan: The Mikado (Chorus Part)

After creating eight works for the stage, Gilbert and Sullivan outdid themselves with a macabre farce set in the Far East. It is the most popular Gilbert and Sullivan opera, and arguably the most popular opera ever written. This may have had something to do with the vogue for all things Japanese at the time, but it is also due to the universal appeal of the characters - every culture has a bribe-hungry Pooh-Bah, giggling schoolgirls, and a pathetic, elderly Katisha. This edition of the Chorus part includes all cues and a synopsis. It is edited by Bryceson Treharne.

DKK 103.00
1

Henry Cowell: Ancient Desert Drone (Arr. James Worman)

Henry Cowell: Ancient Desert Drone (Arr. James Worman)

Ancient Desert Drone was composed for Orchestra in 1940 at the request of Percy Grainger, who encouraged the idea of using a single pitch drone throughout the work (similar to Grainger's own The Immovable Do ) and to whom the piece is dedicated. While the work suggests an Eastern charm with its distinctive mode and primitive rhythms, Cowell himself stated there was no particular programmatic intent. This transcription for band is an exotic and welcome addition to the repertoire for Winds. Dur: 5:00 Recorded by the Trinity University Symphonic Wind Ensemble - James Worman, conductor. ScorePlay - click to view score with recording.

DKK 877.00
1

Dale Trumbore: The Whole Sea In Motion

Dale Trumbore: The Whole Sea In Motion

The Whole Sea In Motion sets a prose text from Agnes Grey , a 1907 novel by the British author Anne Brontë. In choosing this text to set, the composer was struck by the first sentence, which begins "No language can describe [...] the sky and ocean" and then proceeds to do just that, detailing the narrator's experience of the ocean in a vivid, keen language. Within the musical setting of the text, the ocean is represented alternately in the ebbing and flowing of the aleatoric Piano accompaniment and in overlapping melodic lines in the chorus. Duration: ca. 5 min

DKK 53.00
1

Giuseppe Verdi: Don Carlo (Libretto)

Giuseppe Verdi: Don Carlo (Libretto)

Don Carlo which debuted in 1867, ranks among the composer's most complex and challenging works. Based on the verse play by Schiller about tragic love and intrigue at the court of Philip II of Spain, the opera features a rich assortment of memorable characters and dramatic situations. Conflicts of a political sort abound in the libretto by Mery and Du Locle; Don Carlo is in love with Elizabeth de Valois, who has become the wife of his father, King Philip II, as the result of a political marriage. Furthermore, the Marquis de Posa, Don Carlo?s best friend, is wanted by the Grand Inquisitor because he is a 'freethinker.' Philip discovers his wife's infidelity and must decide what to do about his son while the Grand Inquisitor asserts his power over him. This is the Schirmer Edition of the Libretto, in the original Italian with an English translation by Walter Ducloux.

DKK 111.00
1

Richard Wagner: Siegfried (Libretto)

Richard Wagner: Siegfried (Libretto)

Wagner's sense of what he wanted to do with the Ring drama changed by the time he returned to Siegfried. When he began the Ring, he had clearly seen Siegfried as the hero of the drama, but the desire to more fully explore Wotan's predicament impelled him to expand the project.Siegfried and Mime quarrel, Siegfried demands that the sword Nothung be mended, but Mime cannot do so, much to his own chagrin ? he wants to win the Ring back for himself. The Wanderer ? a disguised Wotung tells Mime that Nothung can be forged only by one who has never known fear. This is Siegfried, and he repairs the sword himself, smashing the anvil as he leaves to reclaim the Ring. He arrives at Fafner?s lair and kills him. As he dies, Fafner warns that whoever put Siegfried up to this deed is plotting his death as well. From the The Forest Bird, Siegfried learns of the Nibelung hoard, the Tarnhelm and all-powerful Ring, and also of Brünnhilde, who sleeps on a fire-encircled rock - a bride who can be won only by a hero who knows no fear. Mime and Alberich (who had recognised the Wanderer and heeded his warning to fear Mime) quarrel over the spoils, withdrawing when Siegfried reappears carrying the Tarnhelm and the Ring. Mime tries to persuade Siegfried to take a cup of poisoned drink, and Siegfried kills him. Siegfried sets out to climb the mountain. He meets Wotan, who asks him about his exploits, but the youth splinters the Wanderer's spear with a single stroke of Nothung. Wotan, realises he is old and must go to Valhalla, but bequeaths the world to the redemptive power of Brünnhilde's love. Siegfried goes on to the top of the mountain where he discovers an armed, sleeping figure ? the first woman he has ever seen. At last sensing fear, he summons the courage to kiss her. Brünnhilde, roused from her long slumber, realises that Siegfried has come. Throwing herself into Siegfried's arms, she bids farewell to Valhalla and abandons herself to human love.This is the Schirmer edition of the Libretto in the original German with an English translation by Stewart Robb.

DKK 111.00
1

Ernest Bloch: Quintet For Piano And Strings (Parts)

Ernest Bloch: Quintet For Piano And Strings (Parts)

This is one of the most dramatic of chamber pieces. Its opening movement is propulsive, its questing first subject beginning with declamatory five-note motive which rises and falls spikily, then repeating a rhythmic tag. It contrasts with an incantatory second subject which carries with it a chirping, bird-like figure. The second movement is a lyrical transformation of the same ideas with a faster central section, while the finale is an even more driven version of the first movement's materials. The only real relaxation and calm in the music is the remarkable coda, which brings the entire work to an unexpectedly peaceful conclusion. Even more remarkable is the vocabulary - Bloch liberally uses quarter-tone intervals, mainly for colour, rather than as part of any harmonic system, but they do add an eerie quality to many sections of the score. This is one of the exceptional masterpieces of the Piano Quintet literature. This set contains all the parts - the piano score also contains all the string parts for rehearsal purposes.

DKK 917.00
1

28 American Art Songs (Low Voice And Piano)

28 American Art Songs (Low Voice And Piano)

Selected art songs by prominent American composers in the G. Schirmer and AMP catalog, including songs by Samuel Barber, John Duke, Lee Hoiby, Charles Ives, John Jacob Niles, William Schuman, and others. Includes works from Ernst Bacon: It's all I have to bring • Samuel Barber: The Crucifixion; The Daisies; Hey nonny no!; The Monk and His Cat; Mother, I cannot mind my wheel; A Slumber Song of the Madonna; Sure on this shining night • Paul Bowles: Cabin; Heavenly Grass; Sugar in the Cane • Theodore Chanler: The Lamb • Ernest Charles: When I Have Sung My Songs • John Duke: Loveliest of Trees; Richard Hageman: Do not go, my love • Lee Hoiby: Where the Music Comes From • Carles Ives: In the mornin'; Serenity • Herbert Kingsley: The Green Dog • Charles Naginski: The Pasture • John Jacob Niles: Black is the color of my true love's hair; Go 'way from my window; The Lass from the Low Countree • Gladys Rich: American Lullaby • William Roy: This Little Rose • John Sacco: Brother Will, Brother John • William Schuman: Holiday Song; Orpheus with his lute .

DKK 208.00
1

George Washington Bridge

George Washington Bridge

George Washington Bridge . An impression for Concert Band by William Schuman . ' There are few days in the year when I do not see the George Washington Bridge. I pass it on my way to work as I drive along the Henry Hudson parkway on the New York shore. Ever since my student days when I watched the progress of its construction, this bridge has had for me an almost human personality, and this personality is astonishingly varied, assuming different moods depending on the time of day or night, the weather, the traffic and, of course, my own mood as I pass by. I have walked across it late at night when it was shrouded in fog, and during the brilliant sunshine hours of midday. I have driven over it countless times and passed under it on boats. Coming to New York City by air, sometimes I have been lucky enough to fly right over it. It is difficult to imagine a more gracious welcome or dramatic entry to the great metropolis '. - William Schuman

DKK 232.00
1

28 American Art Songs (High Voice And Piano)

28 American Art Songs (High Voice And Piano)

Selected art songs by prominent American composers in the G. Schirmer and AMP catalog, including songs by Samuel Barber, John Duke, Lee Hoiby, Charles Ives, John Jacob Niles, William Schuman, and others. Includes works from Ernst Bacon: It's all I have to bring • Samuel Barber: The Crucifixion; The Daisies; Hey nonny no!; The Monk and His Cat; Mother, I cannot mind my wheel; A Slumber Song of the Madonna; Sure on this shining night • Paul Bowles: Cabin; Heavenly Grass; Sugar in the Cane • Theodore Chanler: The Lamb • Ernest Charles: When I Have Sung My Songs • John Duke: Loveliest of Trees • Richard Hageman: Do not go, my love • Lee Hoiby: Where the Music Comes From • Carles Ives: In the mornin'; Serenity • Herbert Kingsley: The Green Dog • Charles Naginski: The Pasture • John Jacob Niles: Black is the color of my true love's hair; Go 'way from my window; The Lass from the Low Countree • Gladys Rich: American Lullaby • William Roy: This Little Rose • John Sacco: Brother Will, Brother John • William Schuman: Holiday Song; Orpheus with his lute .

DKK 232.00
1

Gilbert And Sullivan: Yeomen Of The Guard (Vocal Score)

Gilbert And Sullivan: Yeomen Of The Guard (Vocal Score)

?Yeomen of the Guard? is a more ?serious? Gilbert and Sullivan opera and this perhaps accounts for its original lukewarm reception, as it ran contrary to audience expectation. Set in the Tower of London in the sixteenth century, the libretto concerns a jester, Jack Point and his girl Elsie, who plot to aid a war hero who is sentenced to die in the Tower. That hero, Colonel Fairfax, has been condemned to die by a relative who stands to inherit his fortune. Fairfax wants to marry someone just before his execution, so that his bride will inherit instead. Jack sets Elsie up to marry Fairfax, thinking it will do no harm. However, Fairfax escapes and remains in the area in disguise. He spots Jack trying to woo Elsie and gives a demonstration of the proper way to woo, winning Elsie's affections himself. In the end, everyone pairs off except Jack, who loses Elsie to Fairfax and is heartbroken. This is the Schirmer Edition of the Vocal Score containing all the dialogue and edited by Edmond W. Rickett.

DKK 333.00
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W.A. Mozart: Cosi Fan Tutte (Vocal Score)

W.A. Mozart: Cosi Fan Tutte (Vocal Score)

Long neglected and misunderstood, 'Cosi Fan Tutte' (Thus Do All Women) emerged from obscurity in the twentieth century, and has come to be regarded as among Mozart's finest works. The Libretto is by Lorenzo da Ponte and tells of two friends, Ferrando and Guglielmo, who wager with Don Alfonso that their lovers, Fiordiligi and Dorabella, will remain constant in their absence. To prove the point, they depart under false pretences and return as 'Albanians' to try to woo the women away. Each of the six characters receives an equally insightful musical portrayal, for example Fiordiligi transcends her role as the victim of cruel manipulation, revealing a complex personality that is sincere, capable of growth, and inarguably sympathetic. In contrast, Guglielmo never progresses beyond concern for his own ego and interests; his music therefore remains within the stock traditions of opera buffa. The ambigous nature of the ending (who actually loves whom?) can be seen as appropriate, given the emotional issues aired during the drama. This is the Schirmer edition of the Vocal Score, with an English version by Ruth and Thomas Martin.

DKK 187.00
1

Autobiography For Pt2 Sc Band

Autobiography For Pt2 Sc Band

The suggestion that I write my autobiography was made at a time when anyone who did not write one risked being called eccentric. It became, and still is, a major sport among the oldsters. Some of the contemporary books are good reading indeed. One of the best of them is the result of an enormous research job, as is brought out in the introduction to the work. Imagine spending long hours and traveling many miles to find out about oneself: I am sure I would be one of the first to be utterly bored by the subject. It was not so easy, however, to dismiss the whole idea as my friends presented it. The only answer I could think of with any degree of enthusiasm was this one, written purely for whatever pleasure it could give. My own part of the pleasure is mostly in utilizing the musical language of the concert band, with its apparently inexhaustible colors and its fabulous vitality. The form (if the term has any right being here) is seven short pictures, each about two minutes long, of my own personal seven ages. The two-minute idea may be the result of the loudspeakers spread all over the hotel in Arizona where the piece was composed. There was no getting out of ear-shot of those two-minute gems - in the dining rooms, around the swimming pools, by the putting green, everywhere-but I honestly do not believe any of them crept into what I was writing. I do not believe I paid much more than passing attention to them. Part Two : IV. 1916: Mo. to N.Y. V. 1919: The Merrill Miracle VI. 1926: A Parisian in Paris VII. 1935: What Was the Question? The three of my seven ages in Part One took us to the legal end of my youth. Gathering up my unspectacular belongings, including my entire fortune of less than two hundred dollars, I swooped down on New York for no more reason than that it was New York and had a street in it called Broadway. The music borrows two or three rhythms from the era, but the only note-for-note quote is what the bugler at Camp Funston played every morning while we put on our shoes. Later, when we get to Paris, some of the cute old French tunes that everybody knows come tripping by. This is the full extent of actual musical quotes, at least conscious ones. As I laid down the pen on this I wondered how many musicians had done the same kind of autobiography, and I remembered being in London with one of the editors of Chappell and Company when Bert Kalmar and Harry Ruby turned out "Three Little Words". I innocently said I wondered why that title had not been thought of before. My British friend said, "Funny you should ask that! I just looked it up in the index of songs copyrighted in the British Isles. There are fifty-three." - Robert Russell Bennett

DKK 103.00
1

Remembrance Day - Full Score

Remembrance Day - Full Score

'All music, be it "abstract" or "descriptive," or "popular" or "serious," must speak for itself. Words about it are irrelevant, unless they be lyrics or narration. That being said, I will attempt a few words about my piece, because I was asked to do so, and the very special nature of the event in which this first performance takes place. Therefore I offer a guide to the musical gestures and terrain that make up the work, and hopefully help communicate my music to the listener. " Remembrance Day " opens softly with a prologue evoking a distant nostalgic Lullaby. As it fades, a sudden loud chime combines with high Clarinets in an anguished sequence that cries out a musical pattern establishing and shaping the body of the work. The music alternates between elegiac thematic references and the pulsations and accents of chimes and tolling bells. A slight pause-then subdued but menacing sounds from muted Trombones, Tuba, and Percussion. Over this is a variant of the Clarinets initial "cry of anguish"- but this time in quiet grief-turning into a funeral cortege. The cortege proceeds to chants and responses that grow in intensity, changing to hymn-like swelling and embellishments. A sudden explosive interruption, brutal and violent-the previous menacing muted trombone motif now unleashed. This leads to a full-blown and affirmative chorale. Following this climax the work winds down, diminishing in intensity. There are passing references to what was heard before. Now comes a last variation on the chant, and a pianissimo echo variant in muted Trumpets and then Woodwinds of the hymns and chorales. As this recedes comes the plaintive cry of anguish again-unresolved. Once again, quiet pulsations, a short silence-and the epilogue-a few fragments of the opening lullaby-some final pulsings-a few timpani beats-silence. I am honored to have been asked to write this work, and I thank the Raymond and Beverly Sackler Foundation for making this possible. I also hope that our children's children, and their children in the next 21" Century, will live in a world of peace and compassion, wondering why we inmates of the 20th Century asylum spent most of the time destroying each other, while fervently believing in the divinity of humankind.' - Morton Gould, August 23, 1995

DKK 103.00
1