Partitions Numériques de Muse pour Voix duo, Piano

Muse

La Décima Musa #Voix duo, Piano #INTERMÉDIAIRE/AVANCÉ #William Ortiz #La Décima Musa #William Ortiz #SheetMusicPlus

Piano,Voice Duet Piano,Voice - Level 4 - SKU: A0.1009002 Composed by William Ortiz. 20th Century,Contemporary. 39 pages. William Ortiz #6369967. Publish...(+)

Piano,Voice Duet Piano,Voice - Level 4 - SKU: A0.1009002 Composed by William Ortiz. 20th Century,Contemporary. 39 pages. William Ortiz #6369967. Published by William Ortiz (A0.1009002). The text for â€œLa DÃ©cima Musaâ€ (2016) for Soprano, Mezzo and Piano, written by Amaya E. Ortiz, is inspired and influenced by the life and work of the Mexican poet Sor Juana InÃ©s de la Cruz. Sor Juana InÃ©s (1651-1695) was a controversial figure that defended womenâ€™s rights to education and was censured. Her defiance towards the Catholic Church at the time, led to all her books being confiscated. She has been since named â€œLa DÃ©cima Musaâ€ and has also been known as â€œEl Phoenix de MÃ©xicoâ€. The work is divided musically into ten sections of different character, each one preceded by a vocalized or brief instrumental interlude introducing each verse of the poem. The piece begins with a subtle, serene and contemplative vocalize in the tonality of F mayor and continues itâ€™s musical discourse through modulations, rhythmic changes and imitative polyphony. The music reflects to a certain degree the neo baroque styling of the text, which in turn mirrors Sor Juanaâ€™s muse. The text transmits to me a phantasmagorical message that contains a great variety of metaphors and profound sentiment. I try to transform those words and thoughts into emotions and sensibilities through the miracle of what is music.

Piano,Voice Duet Baritone Horn TC,Piano,Soprano voice - Level 5 - SKU: A0.1101414 Composed by Brett L. Wery. Chamber,Classical,Contemporary,Multicultural,World. 52 pages. Sonata Grendel Publishing #704802. Published by Sonata Grendel Publishing (A0.1101414). I. Hammering on Rocks text by Joseph Ross II. Normal text by Reginald Harris III. My Body Holds Stones text by Laura Tohe IV. The Museum of Stones text by Carolyn ForchÃ©. Quarry Songs were written as a project initiated by my long-time friend and colleague, Mark Evans. Mark and I have spent hundreds of hours rehearsing and performing together so when he asked me to participate in a project to create a song cycle as part of a residency at the Avaloch Farm Music Institute in New Hampshire, I said yes immediately. Joining us were former students, now colleagues, Areli Mendoza-Pannone (soprano) and Robert Frazier (baritone). During our residency at Avaloch, the trio and I organized Zoom meetings with the poets and work-shopped many sections of the songs. I am immensely grateful for the contributions Mark, Areli, and Bobby made to this piece. I am especially indebted to the four amazing poets for their powerful, inspiring poems. These are works of courage, honesty, and craftsmanship and Iâ€™m humbled by the writerâ€™s trust and generosity as I attempt to add a dimension to their work that is worthy of the source. The poems represent varied American perspectives of the artifacts of human existence and the trajectory of our culture(s), the human capacity to grow numb to suffering, the weight and cost of identityâ€”self imposed and projectedâ€”on ourselves, our nation, and our children. Most importantly the poems witness our power to change the world through art. These poems recall the courage of Nelson Mandela, the paralysis that comes with the twenty year old war in Afghanistan, the lasting wounds of inflicted upon children in boarding schools designed to eradicate native cultures, and the markers of war and suffering that call as much for hope as for remorse. I chose poets whose voices represent not only suppressed perspectives but also the voices of Americans born of privilege, willing to use the power of art to focus the readersâ€™ minds on the rough truths of our shared history as Americans.