Piano and voice - Digital Download

SKU: LV.19683

Composed by E.W.B. Poets, Forests, Birds--symbols, Courtship & love, Distress. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.19683).

Song of the Thrush. I Wander in the Woods. Words by Heinrich Heine. Translated C.G. Leland. Music by E.W.B. Published 1867 by Chas. W. Harris, 3 & 4 Wotkyns Block in Troy, N.Y. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Poets, Forests, Birds--symbols, Courtship & love, Distress. First line reads I wander in the woods and weep, The thrush sits on the spray..

About The Lester S. Levy Collection

The Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.

WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download

SKU: A0.1467794

Composed by Chris North. Contemporary,Contest,Festival,Historic,Multicultural,World. Brass Band. 189 pages. Danetre Music #1046092. Published by Danetre Music (A0.1467794).

A Suite for British Style Brass Band which was chosen as the 4th Section Test Piece for the Butlins Mineworkers Brass Band Championships 2015 in Skegness, UK. Each movement is based on a famous French Impressionist painting as follows:

1. Boulevard Montmarte (Pissarro – 1897)
 The Boulevard Montmartre is one of the four grand boulevards of Paris. This painting gave me the idea of writing a piece to portray a journey in a pony and trap through this busy street scene, starting out serenely in the suburbs, travelling through all the hustle and bustle, before trailing off into the distance.  An all pervasive Poulenc mouvement perpetual accompaniment style is present throughout this movement.

2. Lac d'Annecy  (Cézanne - 1896)
 Although marked Waltz triste (sad waltz), the mood of the music is rather reflective in nature. This movement is the longest of the five and I would not recommend it being played too slow. Stylistically, it is a characteristic accordion piece, so touches of rubato here and there wouldn’t be out of keeping.
 
3. La Cathédrale de Rouen  (Monet - 1894)
 This is the most difficult movement to play in respect of intonation, with lots of unisons, octaves and parallel intervals. The opening should be a true piano in order to allow the piece grow. The plainsong statements should be played smoothly and with plenty of air.
 
4. Les Parapluies  (Renoir - 1884)
 A jaunty, playful theme leading in to a little fugue. A little low in places for the euphoniums and baritones. The music should skip along comfortably without rushing to allow the finer detail to come through.
 
5. Au Moulin Rouge  (Toulouse-Lautrec - 1895)
 A lively tempo, always chasing forward without slackening. As in the previous movement, good dynamic contrast, swells and tight precise articulation. Lots of work for everyone, especially the baritones and euphoniums. Take care that the mf dynamic of the 'bass solo' is not overdone. If needs must, the siren whistle could be substituted with a referee's whistle, but I would like my duck call! The champagne cork 'pops' are really more visual than audible, however, it would be advisable for more of the band to join in,  as required. 
 


 

 

Piano Solo - Level 3 - Digital Download

SKU: A0.921431

Composed by Mat Kim. Contemporary. Score. 11 pages. Mat Kim #2218077. Published by Mat Kim (A0.921431).

A solo piano piece intended to portray a conversation between two people, one seeking forgiveness and the other being the wronged party. Is written in a jazz-influenced, somewhat neotonal style and features a nested ternary (ABACDCABA) form to convey a conversational feeling. To be played between 110-120 bpm, with a rushed, hurried feeling and rubato meant to represent the emotion-charged words spilling forth from the lips of both parties.

Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download

SKU: A0.1475437

Composed by Chris North. Contest,Festival,Historic,Multicultural,World. Brass Band. 189 pages. Danetre Music #1052989. Published by Danetre Music (A0.1475437).

A Suite for British Style Brass Band. Each movement is based on a famous French Impressionist painting as follows:

1. Boulevard Montmarte (Pissarro – 1897)
 The Boulevard Montmartre is one of the four grand boulevards of Paris. This painting gave me the idea of writing a piece to portray a journey in a pony and trap through this busy street scene, starting out serenely in the suburbs, travelling through all the hustle and bustle, before trailing off into the distance.  An all pervasive Poulenc mouvement perpetual accompaniment style is present throughout this movement. 

2. Lac d'Annecy  (Cézanne - 1896)
 Although marked Waltz triste (sad waltz), the mood of the music is rather reflective in nature. This movement is the longest of the five and I would not recommend it being played too slow. Stylistically, it is a characteristic accordion piece, so touches of rubato here and there wouldn’t be out of keeping. 
 
3. La Cathédrale de Rouen  (Monet - 1894)
 This is the most difficult movement to play in respect of intonation, with lots of unisons, octaves and parallel intervals. The opening should be a true piano in order to allow the piece grow. The plainsong statements should be played smoothly and with plenty of air. 
 
4. Les Parapluies  (Renoir - 1884)
 A jaunty, playful theme leading in to a little fugue. A little low in places for the euphoniums and baritones. The music should skip along comfortably without rushing to allow the finer detail to come through. 
 
5. Au Moulin Rouge  (Toulouse-Lautrec - 1895)
 A lively tempo, always chasing forward without slackening. As in the previous movement, good dynamic contrast, swells and tight precise articulation. Lots of work for everyone, especially the baritones and euphoniums. Take care that the mf dynamic of the 'bass solo' is not overdone. If needs must, the siren whistle could be substituted with a referee's whistle, but I would like my duck call! The champagne cork 'pops' are really more visual than audible, however, it would be advisable for more of the band to join in,  as required.

A super work to add to your repertoire as a concert or contest item. This title has already been played by a number of bands in various competitions, and was chosen as the 4th Section Test Piece for the Butlins Mineworkers Brass Band Championships 2015 in Skegness, UK.

Concert Band - Level 4 - Digital Download

SKU: A0.1081763

Composed by Alan Silvestri. Arranged by Graham Boag. 20th Century,Broadway,Film/TV,Musical/Show. Score and parts. 187 pages. Graham Boag #685889. Published by Graham Boag (A0.1081763).

Back to the Future is a 1985 American science fiction film directed by Robert Zemeckis, and written by Zemeckis and Bob Gale. It stars Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover, and Thomas F. Wilson. Set in 1985, the story follows Marty McFly (Fox), a teenager accidentally sent back to 1955 in a time-traveling DeLorean automobile built by his eccentric scientist friend Doctor Emmett Doc Brown (Lloyd). Trapped in the past, Marty inadvertently prevents his future parents' meeting-threatening his existence-and is forced to reconcile the pair and somehow get back to the future. Back to the Future was conceived of in 1980 by Gale and Zemeckis. They were desperate for a successful film after numerous collaborative failures, but their idea was rejected over 40 times by studios because it was not considered raunchy enough to compete with the successful comedies of the era. A development deal was secured following Zemeckis' success directing Romancing the Stone (1984). Fox was the first choice to portray Marty, but he was unavailable; Eric Stoltz was cast instead. Shortly after principal photography began in November 1984, Zemeckis determined Stoltz was not right for the part and made the concessions necessary to hire Fox. This included re-filming scenes already shot with Stoltz and adding $4 million to the budget. Back to the Future was filmed in and around California and on sets at Universal Studios. Filming concluded the following April. Replacing Stoltz delayed production and the film's release date but, following highly successful test screenings, the date was brought forward to July 3, 1985, to give Back to the Future more time in theaters. This resulted in a rushed post-production schedule, and some incomplete special effects. Back to the Future was a critical and commercial success, earning $381.1 million to become the highest-grossing film of 1985 worldwide. Critics praised the story, comedy, and the cast-particularly Fox, Lloyd, Thompson, and Glover. It received multiple award nominations and won an Academy Award, Saturn Awards, and a Hugo Award. Its theme song, The Power of Love by Huey Lewis and the News, was a significant success globally. In the years since its release, Back to the Future has grown in esteem and is now considered to be among the greatest films of the 1980s, one of the best science-fiction films ever made, and one of the greatest films of all time. In 2007, the United States Library of Congress selected the film for preservation in the National Film Registry. The film was followed by two sequels, Back to the Future Part II (1989) and Back to the Future Part III (1990). With its effect on popular culture and a dedicated fan following, Back to the Future launched a multimedia franchise. This includes an animated television series, video games, comic books, board games, clothing, music, books, food, toys, collectibles, and theme park rides. Its enduring popularity has led to numerous books about its production, documentaries, and commercials. Back to the Future has been adapted into a 2020 stage musical.

Full Orchestra - Level 5 - Digital Download

SKU: A0.533667

Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Published by Musik Fabrik Music Publishing (A0.533667).

Pittsburgh Concerto (2005) was written for the Carnegie Mellon Philharmonic and is
dedicated to Amy Stabenow, concert manager at Carnegie Mellon’s School of Music. The
piece was conceived as a tribute to the city of Pittsburgh, Pennsylvania, USA.
The work contains only two specific “programmatically inspired� images related to
Pittsburgh. They form the outer two sections of the work. The inner four sections are
inspired more abstractly by various aspects of the city, its landscapes, and its people; they
feature a series of solos and duets for many members of the orchestra – in the manner of a
“concerto for orchestra.�
The opening of the work is inspired by Pittsburgh’s history as America’s steel capital.
Colors and sounds of the clangorous industrial age of America’s past are evoked. The basic
musical material (a six-note cell) for the entire work is presented in this aggressive
introduction. Throughout the rest of the work, this basic material is developed in ways that
range from lushly romantic to aggressively athletic.
The following section is marked “slow, lush� and features a duet first between trumpet and
tuba, over warm harmonies in the orchestra. A brief duet for vibraphone and marimba leads
to an extended viola solo.
The next section is fast and energetic. It begins with an athletic duet for English horn and
bass trombone, followed by a ringing duet of tubular bells and crotales. The final solo is for
violin, as the orchestral texture disintegrates around it.
The next section, marked “slow, mystical�, begins with a duet between piano and bass
clarinet. A passionate horn duo follows before a passage for solo bass leads directly into the
next section.
This section is fragmentary and halting. An unpitched duo of bass drum and flexatone
begins, leading to an aggressive and abortive duet between solo flute and bassoon. Finally,
an extended cello solo closes the section.
The final part of the work is inspired by my first visit to Pittsburgh. When driving in from
Pittsburgh airport (which is far outside the city), the city itself is “hidden� from the road by
hills. Upon reaching the hills, one enters the Fort Pitt tunnel and, after a few moments,
emerges from it on a suspension bridge over the Monongahela River. Late at night, this was
a truly breathtaking moment as the city and its rivers emerged suddenly in a mass of glittering
lights. The ecstatic rush of the lighted city at night is portrayed in this section – amidst
fragments from the opening, recalling the industrial past, now transformed into something
new.

Instrumentation
3 Flutes (3rd dbl. Picc.)
2 Oboes
English Horn
3 Clarinets in Bb
Bass Clarinet in Bb
2 Bassoons
Contrabassoon
4 Horns in F/Bb
3 Trumpets in Bb
2 Trombones
Bass Trombone
Tuba
Timpani
Percussion (3 players)
I: tubular bells, bass drum
II: vibraphone (motor off)
III: crotales, marimba, flexatone
(Percussion II needs two rosined bows.
Percussion III needs one rosined bow.)
Piano
Violin I
Violin II
Viola
Cello
Contrabass
(principal/solo contrabass must have machine extension to low Db)

This is the score only.  The parts are available on rental from the publisher