SKU: A0.1008418

This remarkably colorful part gives great pleasure with its liberation, colorfulness and originality of the Spanish and Cuban musical traditions.  Written in three-part form, this music in particular is notable for its peculiar rhythms and metric comparisons. If in the 1st and last parts I use quite recognizable percussion instruments such as: Triangle, Snare Drum, Castanets, Cymbals, Gong, which indicates more Spanish traditions in classical music, then in the middle part it is mostly Cuban folk music, colored and emphasized by such percussion as: Claves, Cowbell, Bongo and Conga Drums. Undoubtedly, the percussion instruments in this part of my transcription are a very recognizable element, but not the only one that can be determined with careful listening.

SKU: A0.518882

Carol of the Bells is a popular Christmas carol, with music by Ukrainian composer Mykola Leontovych in 1914 and lyrics by Peter J. Wilhousky. The song is based on the Ukrainian folk chant Shchedryk.The music is in the public domain, Wilhousky's lyrics are however under copyright protection (owned by Carl Fischer Music). The music is based on a four-note ostinato and is in 3 4 time signature, with the B-flat bell pealing in 6 8 time. The carol is metrically bistable, and a listener can focus on either measure or switch between them. It has been adapted for many genres, including: classical, metal, jazz, country music, rock, trap, and pop. The piece also features in films, television shows, and parodies.

SKU: A0.976722

Joachim Leander's Praise to the LORD, the Almighty, as translated by Catherine Winkworth, has consistently been one of the most published hymns in the English language since the mid-20th Century. Its anonymously composed tune, LOBE DEN HERREN, almost exclusively paired with this text since the 17th Century, is also much loved. Even J.S. Bach found it suitable to feature in his 137th cantata.

 The title of this arrangement, Ponder Anew, as taken from the commonly used third stanza of the hymn, Ponder anew what the Almighty can do, invites one to consider afresh the attributes and works of Almighty God as one listens to this completely new setting of the tune. This arrangement for orchestra features three variations of the complete hymn tune utilizing metrical and harmonic changes to maintain focus on the tune and its text. These are bracketed via repetitions of the first five tune pitches in harmonic planing over a crescendoed pedal tone producing steadily increasing tension with unexpected resolutions of the beginning and concluding phrases.

The music in not particularly difficult and should be readily playable by high school or higher level musicians. Yet, both musicians and audience will find the work interesting and enjoyable with music that reflects the majesty and mystery of its subject.

Robert Myers

S.D.G.

INSTRUMENTATION

Picc, Fl1, 2

Oboe 1, 2

Bb Cl 1, 2 + Bass Cl

Bsn 1

Hn 1, 2

Tpt 1, 2, 3

Tbn 1, 2, 3

Tuba

Timpani

Perc. 1 (glock, crash cym, sus cym, ride cym, mark tree, claves, tam tam)

Perc. 2 or Drum Set (snare, bass drum, toms (lo/mid/hi), crash cym, finger cym or triangle, ride cym, sys cym)

Vln 1, 2

Vla

VC

DB

SKU: A0.871413

 Pictures at an Exhibition (A Remembrance of Viktor Hartmann, Tableaux d'une exposition) is a suite of ten pieces originally composed for piano by Modest Mussorgsky in 1874.

Promenade With simple, strong rhythms in asymmetrical meter, Mussorgsky depicts himself roving through the exhibition, now leisurely, now briskly in order to come close to a picture that had attracted his attention, and at times sadly, thinking of his departed friend.

This arrangement of Promenade is adapted from Maurice Ravel's 1922 version for full symphony orchestra. 

------------------------------------------------------

Orchestration

Organ    Piano    Strings (Vln1 Vln2 Vla Vlc Db)
Winds (2Bb Cls, 2Fls, 2Obs, 2Bsns, 4 Hns)
Brass (2Bb  Tpts, Tbn 1, Tbn3, Tba)
Glockenspiel

---------------------------------------------

SKU: A0.1225840

RAGING FURIES - Rasende Furien
Goddesses of revenge - Göttinnenn der Rage

Concert Piece for big orchestra - Score and Parts

The image of the raging furies as a topos has permeated the world of thoughts and images of mankind for thousands of years and has inspired and fascinated countless artists.
This idea is also based on an emotional background, a violent, uncontrolled emotional outburst, a rage (Latin: furor, in the sense of frenzy, passion and madness, French: rage). The resulting affect action is described as rage or fury, combined with a state of mind of uncontrolled excitement in the sense of being beside oneself or out of one's senses.
The personification of these affects was in Greek and Roman mythology with the trio of vengeance goddesses, the Erinyens (Latin furia) called: Alekto (the incessant, the never resting), Megaira (German: Megäre, the envious anger) and Tisiphone (the Vengeance avenging the murder, represented with a dog's head and bat's wings), and another, that of Nemesis (the reconciling justice). Already in antiquity they were depicted in sculptures, embossed on coins or immortalized as images on amphorae.
They appear in all eras of fine arts, sometimes in female, male or androgynous form, e.g. as avenging angels, or as hybrid beings between humans and animals. Pictures by Albrecht Dürer, Hieronymus Bosch, Tizian, Peter Paul Rubens, William Hamilton, Johann Heinrich Fuessli, Franz von Stuck, Alfred Kubin, Salvador Dali, Francis Bacon, Yongbo Zhao and many others are proof of this.
They found their way into the literature of Virgil (Aeneis), Dante (Divine Comedy) or John Milton (Paradise Lost). Goethe lets them appear in Faust II, Schiller (Die Kraniche des Ibykus) and many others refer to them directly or in a modified form, such as Kurt Tucholsky (Gripsholm Palace), Alfred Döblin (Berlin Alexanderplatz), Max Frisch (Homo Faber) or Jean-Paul Sartre (The Flies).
In opera, they become an important element in highly dramatic scenes, especially on themes with a mythological or historical background, often also related to the underworld, as in Monteverdi (Il Ritorno d`Ulisse in Patria), Lully (Armide), Gluck (Orpheus and Euridice) or Purcell (Dido and Aeneas). Haendel dedicates an aria to them in Rinaldo, the Furie Terribili. Mozart also uses it in The Magic Flute, in his aria Der Hölle Rache by the Queen of the Night.
Furies appear up to the present in various forms, in comics, fantasy novels, computer games, or kung fu films of the 70s (Furies on the yellow river). They are even popular as plastic children's toys, mostly in particularly frightening and creepy presentations (Matchbox/Fighting Furies or Warhammer/Erinnye). This remarkable history and reception inspired Rainer Fabich to create this new orchestral work from his MYThS series. PEGASUS - Ride on Wings, ULYSSES - Prélude to an Odyssey and THE AMONZS - Myth and Projection have already been released. As the title suggests, this is frantically wild music (Allegro molto vivace) that seems to run away, like an action film with fast motives and runs of strings and woodwinds, combined with strong accents of brass and massive percussion Set. Alternations of straight and asymmetrical beats illustrate erratic sequences of movement, as are typical of scenes with the highest intensity, especially in films (e.g. a chase). In the jazzy middle section, the furies calm down a little, before they pick up speed again in a bombastic third section and increase to the point of ecstasy.

SKU: A0.1118972

A piece (somewhat) based on things in Asymmetric’s Kingdom of Loathing! This movement is a march, with a rousing half and a calming other half.