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Woodwind Ensemble Bassoon,Double Reed Quintet,English Horn,Oboe - Level 3 - Digital Download

SKU: A0.1473211

By William Sterndale Bennett. By William Sterndale Bennett. Arranged by Andrew Lamb. 19th Century,Romantic Period. 25 pages. Andrew Lamb #1050951. Published by Andrew Lamb (A0.1473211).

? Double-Reed Quintet Adaptation of Adagio by William Sterndale Bennett ?

Discover the beautiful Adagio by the renowned English composer, pianist, conductor, and music educator Sir William Sterndale Bennett. Born on April 13, 1816, Bennett was a musical prodigy, admitted to the London Royal Academy of Music at the age of ten. His exceptional talent earned him the admiration of contemporaries such as Felix Mendelssohn and Robert Schumann. Over his illustrious career, Bennett made significant contributions to English music both as a composer and educator.

Instrumentation:

  • ? Part 1: Oboe
  • ? Part 2: Oboe
  • ? Part 3: English Horn
  • ? Part 4: Bassoon
  • ? Part 5: Bassoon

Level of Difficulty: Medium

Potential Uses: This arrangement could be used as an Introductory Voluntary in a church service. It would also be suitable as a concert or recital piece.

About William Sterndale Bennett: Bennett's career highlights include composing and performing in Leipzig, teaching at the Royal Academy of Music, and serving as Principal of the Academy, where he helped save it from closure. Knighted in 1871, Bennett left a lasting legacy on English music, influencing students like Arthur Sullivan and Hubert Parry. His compositions, including symphonies, piano concerti, and vocal music, continue to be appreciated today.

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William Sterndale Bennett | Adagio (Intro Voluntary) | for Double Reed Quintet William Sterndale Bennett
$9.00 8.64 € PDF SheetMusicPlus

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.1030615

Composed by William Billings. Arranged by Mike Allsen. Classical,Praise & Worship,Renaissance,Sacred,Spiritual. Score and parts. 41 pages. Aaron Hettinga #636010. Published by Aaron Hettinga (A0.1030615).

William Billings (1746-1800) was North America’s first great choral composer. He spent most of his life in Boston, working at various times as a tanner or as minor civic official, and occasionally as a church musician. Billings seems to have had little formal music training, but when he was just 22, he also set himself up as an itinerant singing-master, teaching “singing-schools,” where children and adults could learn the rudiments of musical notation and solfege. To feed the market he and other singing-masters had helped to create, Billings published six collections of music, mostly for SATB voices, The first of these, The New England Psalm-Singer (1770) featured a frontispiece engraved by his friend Paul Revere. Billings was fairly prosperous by 1780s, but his good fortune faded in the 1790s. His final collection of music, The Continental Harmony of 1794, was published for his benefit by a group of Boston friends. Billings died destitute in 1800. Billings composed some 340 pieces, mostly collected in his printed editions. This music has a rough-edged and sturdy beauty that is distinctly different from anything in contemporary Europe. The vast majority of Billings’s works were hymns or “psalm tunes.” He was particularly attracted to the great English hymn-writer Isaac Watts (1674-1748), though Billings himself wrote verses for many of his hymns. One of the most famous Billings “psalm tunes,” Chester is not a Christian hymn, but rather a patriotic song of defiance directed against the British. Billings spent nearly all of the Revolutionary War in Boston and made no secret of his patriot sentiments. Chester was first published in 1770, but when he republished it in his The Singing-Master’s Assistant during the height of the war in 1778, Billings added a verse calling out the “infernal league” of the leading British generals Howe, Burgoyne, Clinton, Prescot and Cornwallis. Many brass-players will know Chester from the finale of William Schuman’s 1957 band piece A New England Triptych. Billings also composed over 50 “fuging-tunes”—a genre that usually included a short introduction and a repeated contrapuntal section. (These fuging sections usually begin with imitation, but they are otherwise not at all like classical fugues written in Europe at the time.) The fuging-tune Creation is one of his later works, published in The Continental Harmony of 1794, and experiments with the form. It sets two verses of the Watts hymn “When I With Pleasing Wonder Stand” though final line of verse 1 is repeated in a striking phrase that suddenly moves twice as fast (m.15). The fuging section begins in m.30, and rather than the usual exact repeat, Billing writes an entirely new and more elaborate second section beginning at m.44. Billings first published the simple but beautiful Africa in 1770, and published a revised version in 1778; the later version appearing with the Isaac Watts hymn “Now Shall My Inward Joys Arise.” I first arranged Africa in 1995, for the Glenwood Moravian Trombone Choir (Madison, WI), and I edited it for this publication. Phrasing and articulations marked here reflect the original vocal texts. Africa has long been a favorite of the Glenwood group. Chester and Creation were arranged in 2022. Mike Allsen February 2022.

A Billings Triptych - for 8-Part Brass Choir Quatuor de Cuivres : 2 trompettes, trombone, tuba

$34.99 33.61 € Quatuor de Cuivres : 2 trompettes, trombone, tuba PDF SheetMusicPlus

Choral Choir,Choral (SATB) - Level 3 - Digital Download

SKU: A0.1102517

Composed by Robert Schumann. Arranged by William J. Bullock. Classical,Contest,Festival,Multicultural,Standards,Traditional,World. 8 pages. T.U.X. People's Music #705930. Published by T.U.X. People's Music (A0.1102517).

Built around the idea of disparity, Lightless Luster (Dunkler Lichtglanz) is a beautifully haunting work from composer Robert Schumann, featuring a prosodic, rhyming translation by William J. Bullock. Utilizing full SATB forces, as well as piano four-hands, Schumann's work, depicting love as the liberator of these tormenting emotions, is deliberate and methodical, but moves delicately toward its gentle conclusion.

Lightless Luster (Dunkler Lichtglanz) Chorale SATB

$3.40 3.27 € Chorale SATB PDF SheetMusicPlus

Instrumental Duet Flute,Instrumental Duet,Piano - Level 2 - Digital Download

SKU: A0.933816

Composed by Traditional. Arranged by William Pagan-Perez. Children,Concert,Standards. Score and parts. 22 pages. William Pagan-Perez #3023279. Published by William Pagan-Perez (A0.933816).

Four Hispanic Children’s Songs

  1. Doña Ana (Madame Ana)
  2. El patio de mi casa (The Garden Of My House)
  3. ¡Que Llueva! (Let It Rain!)
  4. San SerenĂ­

About the piece:

Many times, great musicians transcribed and perform art song cycles by Brahms, Schubert, Schumann, or Rachmaninoff in order to express lyricism with their musical instruments like a singer does. Practicing and performing Four Hispanic Children’s Songs, give young music students a good opportunity to start expressing lyricism or to start playing beautiful melodic lines imitating the expressiveness of the human voice. Four Hispanic Children’s Songs can be programmed on student concerts, or solo music recitals in schools. Also, professional musician can perform Four Hispanic Children’s Songs on recitals, educative concerts or entertainment concerts programmed for children.    

Four Hispanic Children’s Songs is a four movements piece based on 18th Century children songs from Spain that became parts of the Hispano American heritage. It was arranged as a song cycle, with march textures that accompany the melody to allow a better learning and rehearsing process in class. 

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Sobre la pieza:

En muchas ocasiones, los grandes mĂşsicos transcriben y ejecutan ciclos de canciones de artes compuestos por Brahms, Schubert, Schumann, or Rachmaninoff con la intenciĂłn de expresar lirismo o tocar bellas lĂ­neas melĂłdicas imitando la expresividad de la voz humana con sus instrumentos musicales. El practicar y tocar la mĂşsica de Four Hispanic Children’s Songs (Cuatro Canciones Infantiles Hispanas) brinda a los jĂłvenes estudiantes de mĂşsica, una buena oportunidad para comenzar a expresar lirismo o de tocar melodĂ­as expresivas como si fuera un cantante. Four Hispanic Children’s Songs puede ser programada y presentada en conciertos de estudiantes, o recitales de mĂşsica solista en escuelas. TambiĂ©n la pieza puede se ejecutada por mĂşsicos profesionales en recitales, conciertos educativos o concierto de entretenimiento programados para la niñez. 

Four Hispanic Children’s Songs es una pieza con cuatro movimientos; basadas en canciones infantiles del siglo XVIII y oriundas de España, pero que fueron adoptadas dentro de las tradiciones hispanoamericanas. El arreglista utilizĂł texturas de marcha para acompañar las canciones, facilitar el proceso de aprendizaje y de ensayo del estudiante en el salĂłn de clases. 


Four Hispanic Children’s Songs for Flute or Oboe and Piano Flűte traversičre et Piano

$8.95 8.6 € Flűte traversičre et Piano PDF SheetMusicPlus






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