Jazz. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #30890EB. Published by Mel Bay Publications - Digital Sheet Music

B-Flat Trumpet,Piano - Level 3 - Digital Download

SKU: A0.549566

Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 16 pages. Jmsgu3 #3508107. Published by jmsgu3 (A0.549566).

Duration: ca. 3:20, Score: 10 pages, solo part: 2 pages, piano part: 3 pages. A delicate masterpiece, not very difficult - suitable for a recital encore.

Grieg Background

In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions.  Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and BedÅ™ich Smetana in Bohemia.

Legacy

Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen.

Peer Gynt Suite No. 1 (Op. 46)

Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain.

Holberg Suite and Misc. Summary

It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.

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Piano Solo - Digital Download

SKU: A0.901081

Composed by Paul Copeland. 20th Century,Contemporary. Score. 50 pages. Paul Copeland #5988217. Published by Paul Copeland (A0.901081).

Audacious Binary Forms for pianist playing one or two pianos, won Australia’s most prestigious piano composition competition the Jean Bogan Prize for Piano Composition 2016.

The world premiere was performed by Michael Kieran Harvey. He is considered by many as being one of Australia’s greatest living concert pianists. Michael specializes in performing world premieres of compositions by Australian composers. He is also a prolific composer of avant-garde music.

ABSTRACT FROM THE GENERAL DIRECTIONS

Audacious Binary Forms for piano is in a fractured binary form. Two types of structures exist; lettered structures, which are experimental structures, and explore the sonorities of the piano, and numbered structures, which are more traditional structures. A structure may be a single page or more than one page. Each page in a structure is to be played sequentially. For example, with structure C, consisting of three pages, C1, C2, C3, each page is played sequentially in numerical order, C1, C2, C3.

EXPERIMENTAL STRUCTURES

The structures A, B, C, D, E, F, G, Percussion, CADENZA, and CODA are experimental.

TRADITIONAL STRUCTURES

The structures 1, 2, 3, 4, 5, and 6, are traditional.

PREPARING THE SCORE FOR PERFORMANCE

There are four different options for a performance.

MINIMALIST OPTION

The 13 cards cut from the CUTOUT page are shuffled. Card 4 Rag (1,2) is removed.  The 12 cards are placed face down. One card is revealed representing the structure that is to be performed. A member of the audience can be invited to shuffle the cards.

STOCHASTIC OPTION

An audience member or members can be invited to shuffle all the pages of the score. The resultant random sequence of pages becomes the whole score for the performance.

PERFORMER’S OPTION

The performer prepares the structures according to his musical tastes. All of the experimental structures should be performed. The performer is free to play none, some, or all of the traditional structures. Please note that each structure remains an independent structure and is played sequentially. For example, structure C, consisting of three pages would be played C1, C2, C3 in that order.

PERFORMER/COMPOSER OPTION

Months before the concert the performer can contact me at paulcopeland1@bigpond.com, to discuss the performance, and to work out an ideal performance structure for the work, taking into consideration the venue, expected size of audience, size of auditorium, music program, and if two pianos will be available.

IMPORTANT INFORMATION REGARDING SHEET MUSIC SIZE

Please note that the score should be printed on separate pages (the notated pages), not back to back. Ideally the score should be printed on A3 pages in colour. However the score can still be printed in grayscale. 

The sheet music file is approximately 15Mb because the score is in full color. 

BIOGRAPHICAL INFORMATION

Paul Copeland is an award-winning multi-genre composer, graphic artist, programmer, teacher, and author, based in his home city of Melbourne. His compositional styles range from neo-classical, jazz, ragtime, and musical theatre to electronic, avant-garde, post-avant-garde, and experimental music.

Born in 1947, Copeland grew up an only child in a musical household. His mother was a talented singer, his father an accomplished amateur pianist, composer of popular music, and internationally renowned travelling telepathist known as Argus The Boy Prophet. Copeland's musical studies commenced at the age of 16 when he began studying piano, and a year later, he enrolled at the Melba Conserv.

Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download

SKU: A0.552841

Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447443. Published by jmsgu3 (A0.552841).

Baritone Horn version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Alto Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries.

It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece.

Schubert

Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911).

Education

Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri.

Performance

Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever.

Legacy

Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.

Alto Saxophone,Piano - Level 2 - Digital Download

SKU: A0.549015

Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447439. Published by jmsgu3 (A0.549015).

Alto Sax version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Alto Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries.

It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece.

Schubert

Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911).

Education

Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri.

Performance

Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever.

Legacy

Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.

Baritone Saxophone,Piano - Level 2 - Digital Download

SKU: A0.549018

Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447449. Published by jmsgu3 (A0.549018).

Baritone Sax version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Bari Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries.

It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece.

Schubert

Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911).

Education

Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri.

Performance

Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever.

Legacy

Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.

Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download

SKU: A0.1158022

Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Contemporary. 34 pages. Https://gildedmusicpress.com/ #758318. Published by https://gildedmusicpress.com/ (A0.1158022).

When Dr. Thrower won the audition for a position in the Air Force Bands in 2011 it fulfilled a childhood dream of becoming a military musician. Then he experienced an intense eight-week party known as Basic Military Training! All new Airmen go through Basic Training at Lackland Air Force Base in San Antonio, TX, which is known as the “Gateway to the Air Force.� Two reasons he chose to enter that Gateway were his patriotism toward the great United States of America, and the great benefits and security that the Air Force offered his family. With these passions in mind, he composed a rousing musical depiction of becoming an Airman. The composition began before Basic Training, so the excitement and anticipation that he felt are exuberantly presented as heroic fanfares and patriotic gestures. However, he completed the composition after boot camp. Accordingly, in the middle of the piece there are moments of struggle and anguish that musically paint the common rigors of Basic Training. The piece ends with recapitulated heroic strains with additional flourishes, as the overall feel for this new life chapter was bound to be exhilarating and inspiring. It is beneficial for the performers to visualize the exciting and difficult journey into the military as they prepare and perform “Gateway to Freedom.� Also a play on the title, this piece was composed for and premiered by “Gateway Brass� (the brass quintet from the USAF Band of the West) in October 2011. Special gratitude goes to Jim Bartelt (USAF, retired) who contributed greatly to the creation of the percussion part.

Piano,Trombone - Level 5 - Digital Download

SKU: A0.810983

Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983).

This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer.

The concerto is in the standard three movement form: Fast, slow, fast.

This publication is a reduction from the original orchestral version (to be released at some point in the future).

Here is a description of the Concerto by the composer, John W. Ware.

I started on the trombone concerto in my junior year studying composition at Indiana University.  While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad).  The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital.  I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting.  I thought at the time that he had given me and my music a fine compliment.  I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now.

The first movement is in fairly normal sonata-allegro form, in the key of A minor.  It alternates between assertive and more thoughtful moods.   There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end.  Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes.  Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic.  The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina.

The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes.  The main theme is heard in the piano part before the soloist enters.  The mood is more lyric than in the first movement, but with dramatic episodes also.  In this movement are some definite derivations from themes in the first movement.  The ending is a sort of lengthened shadow of the opening.

The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes.  Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward.  The introduction is a brief and simple preparation for the solo entry.  Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo.  Toward the end, there is a second cadenza, again leading to a swift and energetic coda.

The work is about 20 minutes in length and is appropriate for advanced performers.

Brass Quintet - Level 4 - Digital Download

SKU: A0.1489490

Composed by Dr. Daniel N. Thrower. Chamber,Classical,Historic,Patriotic. 38 pages. Https://gildedmusicpress.com/ #1066354. Published by https://gildedmusicpress.com/ (A0.1489490).

Three of these seven short pieces are worthy to open any brass quintet concert or recital.  Two fanfares are too short for a concert feature but work extremely well in a ceremony or celebratory setting.  The last two short pieces aptly serve contrasting special purposes, as explained below.

“Fort Pierre Fanfare” is about 40 seconds in duration, and was composed to open the feature concert at the South Dakota Bandmasters Association convention in 2022.  Offutt Brass, from the US Air Force Heartland of America Band, was invited to perform that concert.  Before the final piece of the concert, when gifts were exchanged between the sponsor and performers, beautiful presentation copies of the sheet music were presented to the sponsor.  In performance, staging directions on the music can be extremely effective or cringy, depending on how they are conveyed.  If there is any inkling that there may be a cringe factor, ignore them, and play the fanfare already on stage.

“Enduring Freedom Fanfare” is nearly a minute of music.  It was composed as a gift for the outgoing Commander of the US Air Force Heritage of America Band, Major Rafael Toro-Quiñones.  His leadership was strong and inspiring, and he held a place of high esteem among many of the fine military musicians that he led.  The Change of Command ceremony was toward the end of the Covid-19 shut-downs, so the work was not performed at the ceremony.  Chief Remley, from the command’s satellite location in Nebraska, hand-delivered some finely printed presentation copies to Major Toro-Quiñones.

“Noble Eagle Fanfare” is slightly over a minute in length, and, like “Enduring Freedom Fanfare,” was composed as a gift for another outgoing Commander of the US Air Force Heritage of America Band, Captain David Neil Regner.

“Pilgrims’ Fanfare” was composed on what many Americans acknowledge as “Pioneer Day,” 24 July 2023.  Not only honoring the thousands of pioneers that settled the western United States, but also the pilgrims that voyaged across the ocean to settle in the new continent.  It is about 15 seconds in duration and is effective for any occasion in need of a magnificent fanfare.

“Flightline Fanfare,” as its title implies, was composed for the ribbon cutting ceremony of the dedication of the newly renovated flightline at Offutt Air Force Base in Nebraska.  Unfortunately, the ceremony itself was altered last-minute, and the 15-second fanfare was not used.  However, like “Pilgrims’ Fanfare,” it is very handy for any event demanding a splash of pomp.

“American Interlude” is a soft 75-second underscore for an MC’s moving speech or dedication.  It was originally composed as a smooth segue between two moving patriotic pieces of different keys in a concert setting, but can be used in any similar appropriate situation.

“Troop 184” is dedicated to my childhood BSA Scoutmaster, Gerry Nielson, who molded me in significant ways into the man I am decades later.  It is functional music, akin to a fight song, and can be easily marched to.  Words may be crafted as a customized hiking ditty, or it can be featured before or after ceremonies as prelude or processional music.  The duration can also be customized, as there is a written optional repeat, lengthening the tune from 45 seconds to a minute and a half.

Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Festspiel, Oper. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q25919. Published by Schott Music - Digital

Theory and reference - other - Intermediate-Advanced - Digital Download Composed by Davy Mooney. Jazz and Contemporary. E-book and online audio. Mel Bay Publications - Digital Sheet Music #30786MEB. Published by Mel Bay Publications - Digital Sheet Music

Piano,Violin - Digital Download

SKU: A0.1090293

Composed by Peter Machajdík. Arranged by Pavel Burdych. Contemporary. Full Performance. Duration 832. Pavel Burdych #31423. Published by Pavel Burdych (A0.1090293).

Slovak composer and sound artist Peter Machajdík (b. 1961) occupies a unique place in the world of contemporary music. He won international acclaim for his multimedia project Intimate Music at the Inventionen 1994 festival in Berlin. Machajdík has worked with numerous chamber ensembles and orchestras, choreographers, dancers and visual artists. He writes music for film and theatre. He is the holder of Slovakia´s most prestigious classical music award, the Ján Levoslav Bella Prize. His Rosenberg Sonata for Violin and Piano, of 2010, is a composition whose structure sets it in a class of its own, and which plays around with the minimalist style, whilst at the same time attesting to the breadth of the composer's musical and philosophical understanding. The Czechoslovak Chamber Duo premiered Rosenberg Sonata at the Forfest in Kroměříž, Czech Republic. For further information go to Peter Machajdík´s web site - www.machajdik.de.
 
Performers: The Czechoslovak Chamber Duo was formed in 2004 by Czech violinist Pavel Burdych and Slovak pianist Zuzana Berešová. Both artists have been regular guests at music festivals in the Czech Republic, Slovakia and Germany, as well as making frequent concert appearances in capitals around the globe, including Rome, Paris, Lisbon, Seoul, Bucharest, Sofia, Athens, Prague, and Bratislava. Thanks to their Czechoslovakian roots, they often receive invitations from Czech and Slovak expatriate communities in various countries. Every year, they mount projects centred around anniversaries of major composers. The Czechoslovak Chamber Duo has earnt the accolades of audiences and critics alike for its high professional standards, flawless coordination, and musicality. For more detailed information go to the Duo´s website www.chamberduo.eu. Pavel Burdych studied violin firstly at the Conservatory in Pardubice, and thereafter with Bohumil Smejkal at the Janá�ek Academy of Music and Performing Arts in Brno. Zuzana Berešová studied piano at the Conservatory in Košice, at the Academy of Performing Arts in Bratislava, and then with Jiří Skovajsa and Jaroslav Smýkal at the Janá�ek Academy of Music and Performing Arts in Brno.

Piano - difficult - Digital Download For pianoforte. Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Zeitgenossische Musik, Ungarn, Piano. Downloadable. Duration 23 minutes. Schott Music - Digital #Q16144. Published by Schott Music - Digital

Choral Choir (SA) - Digital Download

SKU: A0.561597

Composed by Charles Dickens, Samuel Stokes, William C. Dix, and William Morris. Arranged by SamuelStokesMusic.com. Christian,Christmas,Contemporary,Hip-Hop,Musical/Show. Octavo. 47 pages. SamuelStokesMusic.com #3567955. Published by SamuelStokesMusic.com (A0.561597).

EBENEZER is a one-act musical based on A Christmas Carol by Charles Dickens. The music is a blend of hip-hop and traditional Christmas carols. The adaptation is suitable for performance by adults or teens alike. Four of the lead roles take on the greatest musical challenge with their rap numbers, but the choir parts are more generally accessible as they are based on familiar carols, making the musical appropriate for colleges, high schools, middle schools, church groups, and community theatre groups.

This libretto contains the full play script and vocal sheet music.  Purchase of this libretto kit entitles the purchaser to reproduce the appropriate number of copies for the cast and crew of the production.  Please note that royalties must also be paid for each performance (visit https://www.SamuelStokesMusic.com for royalty information).  The musical is scored for 2-part choir and rap soloists with MP3 accompaniment tracks (available separately). If desired, the musical can also be performed with unison choir singing the melody only. There is the also the optional opportunity for two violins to perform onstage and for a percussionist to play the chimes offstage (MP3 tracks are also available for these underscoring cues).

The musical demo available on this page is an excerpt from the number Jacob Marley - O Come, O Come, Emmanuel, in which Ebenezer Scrooge's former partner returns from the dead to warn him that he must change his ways or suffer the fate of eternally roaming the earth in chains. There is also a teaser video of this musical number at: https://youtu.be/4nPryAZUnDY

Note on printing: this libretto has been formatted with pages intentionally left blank, so that it can be printed properly on the front and back of the paper. Also, there are one-inch margins on the left and right for ease of binding into folders or binders.

A Clarinet,Bassoon,Cello,Double Bass,Flute,Horn,Oboe,Viola,Violin - Level 4 - Digital Download

SKU: A0.1358397

Composed by Juozas Žilevi�ius. Arranged by Kazys Daugėla. 20th Century,Classical. 162 pages. Kazys Daugela #942837. Published by Kazys Daugela (A0.1358397).

Juozas Žilevi�ius (1891–1985) was an organist, composer, educator, and researcher in the history of music. In 1919, when graduating from the Petrograd Conservatory, he composed Symphony in F minor, the first Lithuanian composition in this genre. Upon his return to Lithuania in 1920, Žilevi�ius worked in various musical life spheres of the young republic: he took part in the activities of the Society of Lithuanian Art Creators, contributed to the establishment of Kaunas Opera House, worked for several years as the head of the Art Department at the Ministry of Education, prepared the first music curricula for secondary schools and progymnasiums, conducted courses for music teachers, taught at music schools in Kaunas and Klaipėda, published a musical periodical, and initiated the first Lithuanian Song Festival. 
Musicologist Danutė Petrauskaitė managed to bring copies of three-movement Nonet for strings and wind instruments  from Chicago to Lithuania. Žilevi�ius started writing it in December 1924. The composition was apparently inspired by the Czech Nonet members, working at Klaipėda School of Music, who had been invited by its director Stasys Šimkus from Prague. This was a lively and youthful group that gave concerts all over Lithuania. It amazed audiences with its high artistic level and set an example for students, encouraging them to form various ensembles. The repertoire of the Czech Nonet consisted mainly of works from the Classical and Romantic eras. There were few contemporary compositions, and therefore the Czech Nonet performers turned to composers with a request to write new works for them. They might have discussed the matter with Žilevi�ius with whom they maintained a close relationship, as they did later with Lithuanian composer Jeronimas Ka�inskas.
Žilevi�ius finished writing Nonet on 15 November 1926. All three movements were based on the intonations of Lithuanian folk melodies. The first movement (Andante. Allegro moderato) imitatively developed the motifs of the song “Autumn will Come�, while the second one (Andante cantabile) featured fragments of the song I Rode through the Wood�, and the third one (Allegro) of the song “Oh, you Bird Cherry�. The composition was written professionally, it should have been attractive and interesting for the performers, but, unfortunately, it was never performed. The reasons for this could have been various: disagreements between the director of  Klaipėda Music School, Šimkus, and his deputy, Žilevi�ius, as well a the Czech teachers’ falling into disgrace and starting to resign from their teaching positions in the autumn of 1926. A few years later, Žilevi�ius also resigned from the school: in January 1929 he left for the USA and settled in Elizabeth, New Jersey, where he worked as a church organist. He also brought his Nonet from Klaipėda, hoping that this work would be heard in America. To this end, he found transcribers who made instrumental parts from the score. As it turned out, there were few Lithuanian instrumentalists in the USA, and Žilevi�ius did not have close relations with Americans. Thus Nonet, which the composer regarded as one of his most successful compositions after his Symphony in F minor, sank into oblivion. 
Thanks to Kazys Daugėla, an opportunity appeared to edit and digitise it after the sheet music of Nonet had arrived in Lithuania. This work reveals the origins of the Lithuanian musical culture, enriches the repertoire of chamber-instrumental ensembles, broadens music education curricula, inks the name of Žilevi�ius, the author of both the first Lithuanian symphony and of the first nonet, in the history of music, and contributes to the preservation and fostering of the Lithuanian musical heritage.

by Prof. Dr. DanutÄ— PetrauskaitÄ—.