SKU: XC.ICB1910
UPC: 812598032079. 9 x 12 inches.
While a journey to the sun may exceed the bounds of reality, this extraordinary expedition exists where music and fantasy meet. Inspired by a breathtaking Icelandic sculpture of the same name, Sun Voyager is a vessel to our dreams. A dramatic and powerful opening transitions to driving melodic interplay and exposed percussion sure to challenge ensembles at a variety of levels. This intense and powerful selection will inspire students to raise their game while allowing their imagination to run wild.
SKU: XC.ICB1910FS
UPC: 812598031454. 9 x 12 inches.
SKU: HL.14042973
ISBN 9788759827819.
Doll Steps In Venice by the Danish composer Bent Sorensen . Doll Steps In Venice has been composed for solo Clarinet and Orchestra. Sorensen 's musical language is sadi to be undeniably of the present day, both aesthetically and technically. The music does, however, appear to be pervaded with memories, wisdom of experience and old dreams, of the inevitability of transitoriness and parting. It is a flickering, glittering world where things seem to disappear at the slightest touch.
SKU: MH.1-59913-072-6
ISBN 9781599130729.
Program Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.
SKU: ET.PNO102
ISBN 9790207009760.
The first movement has a dreamy and dramatic impressionistic quality, whereas the second movement is deeply melancholy and religious sounding. The third movement is playful with pulsating rhythms, which demonstrate a symphonic jazz feel. In 1963, at the age of thirty, Lane quickly formed up a close friendship with Paul Van Ness through their involvement with the Ridgewood Orpheus Glee Club (NJ), an all-male choir for which Lane was appointed accompanist. Lane maintained the accompanist position for this group for forty-one years until his death in 2004. Lane dedicated his Sonata 2 to Van Ness as a high school graduation present in 1965. During this period Lane also composed a piano suite for four hands, and a fantasy for piano and orchestra, along with other solo instrumental, choral and orchestral works. Van Ness performed the world premiere of Piano Sonata 2 at his Senior Recital in 1969, five years after its conception, at the Eastman School of Music, Lane’s alma mater. Karl Tricomi, another student of Lane’s and also graduate of the Eastman School of Music performed this second Sonata in 1976 at Carnegie Hall (NY) as well.
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