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--INSTRUMENTS--
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A Distant Star
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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COR
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CORNET
DEEJAY
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FLUTE TRAVERSI…
FORMATION MUSI…
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A Distant Star
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A Whitman Triptych: III. Facing West (Downloadable)
Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - Digi…
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Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8323-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 9 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8323-E. Published by E. C. Schirmer Music Company - Digital (MQ.8323-E). UPC: 600313483233. English. The three a cappella choral pieces that comprise “A Whitman Triptych†were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass†was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed†as the basis for my composition “Invocation and Dance.†I went on to set “Good-Bye, My Fancy†for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road†for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. Facing West is drawn from the Children of Adam book from Walt Whitman's Leaves of Grass. The full title of the poem is Facing West From California's Shores. Though Whitman never visited California, his biographer Justin Kaplan made the insightful observation that he imagined California's shores to be the starting point for a journey through time and culture. Here was Walt, 'a child, very old,' facing home again, looking over to it, joyous, as after long travel, growth, and sleep, asking: 'But where is what I started for, so long ago?/And why is it yet unfound?' The invitation from the International Orange Chorale to compose a piece in honor of the 75th anniversary of the Golden Gate Bridge led me easily and naturally to this great poem. The tone of Facing West is rich and complex, and draws on one of Whitman's favorite themes of using travel to distant lands as a metaphor for spiritual development. In his poem, Whitman strikes notes of reflection, of longing for adventure, and ultimately ends with a question. The continuing relevance of this question is for me beautifully addressed by the contemporary American writer Edmund White in his 1980 book States of Desire. To paraphrase somewhat, White writes: California is where dreams may come true, and the problem it presents is whether, after all, we wanted these particular dreams to be fulfilled - or would we have preferred others? Did we know what price these dreams would exact? Did we anticipate the ways in which they would unsuit us for the business of daily life? Or should our notion of daily life itself be transformed? For Americans, California's coast is as far as one can go in establishing new roots and new ways of living. As a transplanted Midwesterner who has made California his home for nearly three decades, I experience the Golden Gate Bridge as a beautiful monument to the aspirations and dreams of a restless and inventive people, qualities that Whitman's poem captures perfectly. -David ConteDuration: 5:42
$2.65
2.44 €
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David Conte
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A Whitman Triptych: III. Facing West
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Mysterious Moment for oboe and string trio
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 …
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.38 €
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David Warin Solomons
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Mysterious Moment for oboe and string trio
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David Warin Solomons
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SheetMusicPlus
Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score and parts
Large Ensemble Cello,Double Bass,Flute,Multi-Percussion,Oboe,Trombone,Viola - Level 5 - Di…
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Large Ensemble Cello,Double Bass,Flute,Multi-Percussion,Oboe,Trombone,Viola - Level 5 - Digital Download SKU: A0.533689 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and parts. 64 pages. Musik Fabrik Music Publishing #3038607. Published by Musik Fabrik Music Publishing (A0.533689). Concerto for Bass Trombone and Six Players (2006) was commissioned by the CarnegieMellon School of Music for the Carnegie Mellon Contemporary Ensemble, Walter Morales,director. The work is dedicated to trombonist Jim Siders, for whom the solo part was written.The work is scored for solo bass trombone with an ensemble of primarily “dark†instruments– alto flute, clarinet, viola, cello, contrabass, and percussion. The solo bass trombone is thefocal point of the musical discourse, acting throughout largely as a protagonist – with muchmaterial best described as bitterly lyrical. The work maintains a generally dark, obsessive,and bitter tone throughout.Unlike some concerti, however, the work is not about an aggression between soloist and therest of the ensemble. Rather the bass trombone is “first†among a collection of like mindedindividuals – all expressing the same sentiments and aggressions.The opening section is marked “spasmodic.†Quiet nervous twitches serve as a backdrop to amelodic unfolding of the basic material and interval content. The end of this part “breaksapart†to reveal a section marked “slow, otherworldly.†The harmonic material starts modal,open, and “distant†in feeling (perhaps a recollection of a distant past) before becominggradually gnarled again.The trombone leads towards the next section: an ever-building athletic “moto perpetuo.†Thisreaches its peak in an aggressive and horribly angry climax – with a wide-ranging trombonepart marked “wildly raving; insane, uglyâ€, obliterated by bass drum hits and shriekinghammer blows from the other instruments.A nervous and timid interlude returns to the nervous twitching of the opening – thougheverything is slightly slower and more hushed than before, finally breaking off into anenigmatic coda.Alto FluteClarinet in BbPercussion (1 player):bass drum, marimba, crotales(Percussionist needs one rosined bow for crotales.)ViolaCelloContrabassThis is the score and parts. The score is also available for sale as a seperate item.
$32.95
30.38 €
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Carson Cooman
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Carson Cooman: Concerto for Bass Trombone and Six Players
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score only
Large Ensemble Cello,Clarinet,Double Bass,Flute,Multi-Percussion,Trombone,Viola - Level 5 …
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Large Ensemble Cello,Clarinet,Double Bass,Flute,Multi-Percussion,Trombone,Viola - Level 5 - Digital Download SKU: A0.533688 Composed by Musik Fabrik Music Publishing. Concert,Contemporary,Standards. Score and parts. 26 pages. Musik Fabrik Music Publishing #3038603. Published by Musik Fabrik Music Publishing (A0.533688). Concerto for Bass Trombone and Six Players (2006) was commissioned by the CarnegieMellon School of Music for the Carnegie Mellon Contemporary Ensemble, Walter Morales,director. The work is dedicated to trombonist Jim Siders, for whom the solo part was written.The work is scored for solo bass trombone with an ensemble of primarily “dark†instruments– alto flute, clarinet, viola, cello, contrabass, and percussion. The solo bass trombone is thefocal point of the musical discourse, acting throughout largely as a protagonist – with muchmaterial best described as bitterly lyrical. The work maintains a generally dark, obsessive,and bitter tone throughout.Unlike some concerti, however, the work is not about an aggression between soloist and therest of the ensemble. Rather the bass trombone is “first†among a collection of like mindedindividuals – all expressing the same sentiments and aggressions.The opening section is marked “spasmodic.†Quiet nervous twitches serve as a backdrop to amelodic unfolding of the basic material and interval content. The end of this part “breaksapart†to reveal a section marked “slow, otherworldly.†The harmonic material starts modal,open, and “distant†in feeling (perhaps a recollection of a distant past) before becominggradually gnarled again.The trombone leads towards the next section: an ever-building athletic “moto perpetuo.†Thisreaches its peak in an aggressive and horribly angry climax – with a wide-ranging trombonepart marked “wildly raving; insane, uglyâ€, obliterated by bass drum hits and shriekinghammer blows from the other instruments.A nervous and timid interlude returns to the nervous twitching of the opening – thougheverything is slightly slower and more hushed than before, finally breaking off into anenigmatic coda.Alto FluteClarinet in BbPercussion (1 player):bass drum, marimba, crotales(Percussionist needs one rosined bow for crotales.)ViolaCelloContrabassThis is the score only. The score and parts are sold as another item
$19.95
18.39 €
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Musik Fabrik Music Publishing
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Carson Cooman: Concerto for Bass Trombone and Six Players
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Musik Fabrik Music Publishing
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SheetMusicPlus
Indigo I
SAA chorus and piano - Digital Download SKU: OX.9780193548350 Composed by Jenny McL…
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SAA chorus and piano - Digital Download SKU: OX.9780193548350 Composed by Jenny McLeod. Sheet music. . . . for Choirs Collections. Octavo. 4 pages. Oxford University Press Digital #9780193548350. Published by Oxford University Press Digital (OX.9780193548350). ISBN 9780193548350.Inspired by the medieval carol Angelus ad Virginem, Indigo I suggests a distant time, European roots, and the tranquil peace of that starry night when Wisdom descended. Originally published in World Carols for Choirs.
$2.85
2.63 €
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Jenny McLeod
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Indigo I
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Oxford University Press Digital
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Timpani
Percussion Solo,Timpani - Level 4 - Digital Download SKU: A0.1018954 Composed by Be…
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Percussion Solo,Timpani - Level 4 - Digital Download SKU: A0.1018954 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078699. Published by Benjamin Sajo (A0.1018954). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.23 €
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Music for Toys & Dreams
Small Ensemble Cello,Clarinet,Flute - Level 3 - Digital Download SKU: A0.787340 Com…
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Small Ensemble Cello,Clarinet,Flute - Level 3 - Digital Download SKU: A0.787340 Composed by Greg Bartholomew. 20th Century,Concert,Contemporary,Standards. Score and parts. 18 pages. Burke & Bagley #2807579. Published by Burke & Bagley (A0.787340). Music for Toys & Dreams was commissioned by the Farrelly Ensemble for their performance at the 2016 Unbound Flute Festival in Brisbane, Australia. With a childlike simplicity, the piece evokes music heard while napping, as we drift in and out of dreams, with melodies interrupted and fragments of distant stories interwoven. Each instrument becomes the child's voice for a toy, sometimes telling its own story, sometimes reacting to another toy's story, and sometimes enacting a story jointly with the other toys. It starts with the toys waking up, or with a child picking up different toys and introducing them to us. Initially the child is animating the toys, and then the toys begin to animate themselves within the child's dreams.Duration: ca. 6 minutes.
$14.99
13.82 €
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Greg Bartholomew
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Music for Toys & Dreams
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Burke & Bagley
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SheetMusicPlus
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A Distant Star
