SKU: A0.1394923

José Maurício Nunes Garcia (September 20, 1767 – April 18, 1830) was a Brazilian classical composer, one of the greatest exponents of Classicism in the Americas.
Born in Rio de Janeiro, son of two bi-racial parents, Nunes Garcia lost his father at an early age. His mother perceived that her son had an inclination for becoming a musician and, for this reason, improved her work to allow him to continue his musical studies.
Nunes Garcia became a priest and, when King John VI of Portugal came to Rio de Janeiro with his 15,000 people, Nunes Garcia was appointed Master of the Royal Chapel. He sang and played the harpsichord, performing his compositions as well as those of other composers such as Domenico Cimarosa and Wolfgang Amadeus Mozart. He was a very prestigious musician in the royal court of John VI.
His musical style was strongly influenced by Viennese composers of the period, such as Mozart and Haydn. 

This edition has been prepared from the composer's manuscript, and the PDF contains the Full Score and a full set of parts.  Please note that the string parts have been formatted for larger paper.

SKU: A0.924083

La Fleur des Eaux is inspired by Chanson's setting of Le Temps des Lilas, both evocative poems by Maurice Bouchor. It has the same scoring as the Chanson - tenor and orchestra - and it plays on the excitement of love coming with the waves, followed by the grief of losing love as the waters recede. The orchestra provides paints a colourful and emotive backdrop to the singer's journey. It was written for tenor Dominic Bevan who premiered it at the Leonardslee Proms with the Bernardi Music Group conducted by the composer. 6'33 www.dominicmcgonigal.com

SKU: A0.533598

Symphony No. 2, Litanies of Love and Rain (2004) for orchestra is a symphonic work in one
movement. It is dedicated to Marisa Green.

The work is inspired by a poem (Desiring the Solicitude of Rain) by American poet Kathleen Wakefield. The landscape of rich imagery in Wakefield's poem drives the extra-musical inspiration of this work. Musical material from the earlier vocal work is re-imagined in a purely orchestral context.

Wakefield's poem contains images and messages of love and journey amidst the desire for the coming of rain. It is these ideas which provided the poetic conception of the work. Throughout the piece, the winds and brass play an extensive lyric and melodic role. A strand of singing lyricism runs throughout. Instruments are always exploring and highlighting the
resonances in melodic and contrapuntal lines of other instruments. The work is cast in three sections (slow-fast-slow) plus a coda. The opening section begins with a forceful gesture that returns throughout the work as a signal. A melodic idea (containing the basic material of the work) is presented in the clarinet and it is developed throughout the rest of
the section. A faster section emerges in a burst of energy as instruments hocket off each other.
The next section is marked slow, ritualistic. The strings create an otherworldly harmonic cloud of gradually shifting and overlapping harmonies. Through this cloud, bassoon, trumpet,and flute solos emerge. Finally, the opening music is recalled in the coda as the potential energy continues to build. The work ends with a surge of anticipation -- the rain is about to come and it can be imagined just beyond the horizon.

Orchestration: 2222/2200/1perc/strings

Parts on rental from the publisher.

SKU: A0.764295

First I've made an arrangement for my String Quartet, this is a version with solo Tenor-Saxophone and String Quartet accompaniment. The string parts have bowings, legatos, dynamics and rehearsal marks A, B, C, etc. to help and to speed up the learning process. Just count, respect the bow directions and You're done. It's a beautiful song and it sounds great with solo Saxophone. (mp3 sample is coming hopefully in the next days)
Enjoy it!
Tip: In the cello part the double notes can be ignored, if you want you can play only the lower notes (with doubles sounds much better, it worths studying a little more)
For more info, contact, etc. visit my Facebook page here: https://www.facebook.com/kovatsmusic
Give it a thumbs up, thanks :).

SKU: A0.1453498

Legacy is a three-movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission in 2007 by the Washington Sinfonietta, Rufus Jones, conductor and rewritten for chamber orchestra in 2023. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate isquieted by a measure of repeated chords that could be the words, stop it! stop it now!” A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries brings the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressing the harshness of the climate. Colleen McCullough's book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato creating a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Score prints on legal size paper and parts on letter.

SKU: A0.730508

Overture to American composer James Nathaniel Holland's early 1920s-styled musical A Lucky Star. The story about coming to terms with where you're from while attaining your dreams. Featured are 4 popular songs: A Lucky Star; O Baby, You Treat Me Too Rough; New York The City, The Town of Your Dreams; and Indiana. Perfect for period 20s jazz concert or opening to pops orchestra concert. Full score in concert pitch and individual instrument parts included. Instr: picc, fl12, ob12, cl12, bsn, hrn12, tpt, trmb, timp, drum set, piano (w/opt. banjo), strings. Duration: 8:28.