Horn Music
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$30.00Dedicated to the Galliard Brass Ensemble, this collection contains eight well-know carols set for Brass Quintet. The set includes separate parts for both Trumpet in B-flat and Trumpet in C.
- O Tannenbaum
- Tantum Ergo/Let All Mortal Flesh Keep Silence
- God Rest Ye Merry, Gentlemen
- Sing We Now of Christmas
- O Come All Ye Faithful
- Lo, How a Rose E're Blooming
- Gloucestershire Wassail
- It Came Upon the Midnight Clear
Grade: 5
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$39.95Celtic Scents is an amazing suite of wonderful musical scents (wildflowers, herbs, and trees) unified by the brilliant imagination of composer Kazimierz Machala, and the familiar sounds of Celtic folk music. Suite No. 2 includes Foxglove, Rowan, Lavender, and Hawthorn Lore. There is absolutely no doubt that audiences and performers will enjoy their time spent with this joyful and engaging composition. Learn More -
$49.95The composition, Celtic Octet by Kazimierz Machala is a fine addition to mixed wind and string chamber music repertoire. Joining his previous editions of Celtic Scents written and arranged for Orchestra, Symphonic Band and for Woodwind Quintet with Guitar and Double Bass, this new edition for Octet for Winds and Strings adds another opportunity to program this most enjoyable work! Instrumentation:Clarinet in B-flatHorn in FBassoonViolin 1Violin 2ViolaVioloncelloDouble Bass Learn More -
$50.00Dedicated to Myron Welch and Gaylen Hatton. First performance at The International Horn Workshop-- Brigham Young University, 1987, by hornist Thomas Bacon and The Provo Wind Consort, Ralph Laycock--conductor.
Grade: 5
Scherzo from the Horn Concerto for Horn and Piano-Andrew Pelletier, horn Cadenza and Fanfare from the Horn Concerto for Horn and Piano by Randall Faust, Andrew Pelletier, horn Rondo from the Horn Concerto for Horn and Piano, Andrew Pelletier, horn The Concerto for Horn and Wind Ensemble was written at the request of Myron Welch, Director of Bands at the University of Iowa and Gaylen Hatton, Host of the Nineteenth International Horn Symposium. The first performances were given by hornist, Thomas Bacon with the Provo Wind Consort, Ralph Laycock, conductor, at the Nineteenth International Horn Symposium in 1987 and by Randall Faust with the University of Iowa Symphonic Band, Myron Welch, conductor in 1988. Subsequent performances have taken place at various other schools around the country. Throughout the Concerto, individual movements pay respect to various hornists who have been influential on the composer in a variety of ways. They are recognized in their respective movements.
Prelude-Nocturne (Horn and Percussion) (3 min.) The initial movement makes extensive use of glissandi from open to stopped horn as discussed in Marvin Howe’s article in the Fall, 1973 HORN CALL. The thematic material of this movement creates a scale of open and stopped notes that serve as the pitch set for the entire concerto. Scherzo (Horn, Woodwinds, and Percussion) (5 min.) The second movement takes on the heroic and agile character of the orchestral hornist. It employs a semitone flexibility pattern similar to one practiced by Thomas Bacon. Cadenza and Fanfare (Horn, Brass, and Percussion) (5 min.) Paul Anderson, horn professor at the University of Iowa, introduced me to the unmeasured Preludes of Gallay and some multiple tonguing techniques. I pay my respects to him in this movement. Rondo (Horn with complete Wind and Percussion Ensemble) (4:30 min.) Ignaz Leutgeb, the hornist who commissioned Mozart’s horn concerti, set the standards for all of us. Legends are told of the friendly banter between Mozart and Leutgeb. Their good humor is reflected here. Thank you, Ignaz Leutgeb!
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