SKU: PR.444410260

UPC: 680160574742. 9.5 x 13 inches.

RECONNAISSANCE, which uses two Moog instruments performed live, exists in two versions. The first was completed in 1967 for the Music in Our Time concert series in New York and was subsequently perf ormed at Expo '67 in Montreal and at the Monday Evening Concerts in Los Angeles. It is considered to be one of the earliest (if not THE earliest) works using live electronic instruments. A second vers ion with an added movement was recorded on Nonesuch Records.

SKU: GI.G-017083

Rise Up! contains fourteen delightful songs for grade-schoolers by Australian songwriter and religious educator Andrew Chinn. The title song was written for the Los Angeles Religious Education Congress in 2018. A broad variety of subjects such as creation, our senses, St. Patrick, welcome, and love commend these songs for use in classrooms, initiation, prayer, and liturgy.    The corresponding recording features groups of school children from across Australia and New Zealand. Each song is presented with the lyrics and also as an instrumental accompaniment track. The songbook contains melody, lyrics, and guitar chords for each song. .

SKU: SU.28100050

Commissioned by Inon Barnatan, Los Angeles Philharmonic, Atlanta SymphonyPiano & Orchestra [solo pno: 3,1 3 3,1 3; 4321; timp, 3perc, 2hp; stgs Duration: 25' Composed: 2017 Published by: Distributed Composer Also available: Solo piano with reduction (Cat. # 28100051) Performance materials available on rental only:.

SKU: PR.44641154L

UPC: 680160096770. 11x17 inches.

TIME AND THE BELL… was commissioned in 1998 by Meet the Composer for Orchestra 2001, the Society for New Music, and the Los Angeles Philharmonic New Music Group. The title alludes to T.S.Eliot’s Four Quartets, evoking both the sound world and the musical/poetic preoccupations of the work.

SKU: PR.342402070

ISBN 9781491111253. UPC: 680160643226. Octavo inches. Text: Archibald R. Ammons. Archibald Ammons. Text by A.R. Ammons.

To benefit Chorus America, Stucky allowed himself to be auctioned off as a prize - the high bidder would receive a new work from the composer. After a few years and not really hearing anything, Stucky suddenly found himself up against a deadline. He reached back to a favorite poem by A.R. Ammons, Eyesight, which, he says, Won't let...his reader rest till the very last word...one of those sudden insights that leave us breathless..
This piece has an odd history. A few years ago, I agreed to be one of the“prizes” in an auction to benefit Chorus America: the highest bidder wouldget a new piece from me, while their money went to the organization. Thewinning bid came from a collection of several professional choruses anddirectors. But I was always a little vague about the details, and, hearingnothing more about it for a few years, forgot the whole thing.One day I received a message from Thomas Edward Morgan, directorof the Ars Nova Chamber Singers in Boulder: they had scheduled thepremiere of my new piece for a few weeks later, and could they have themusic, please? I needed a text, quickly, and (as usual) I was in a Los Angeleshotel room, not at home with my books. So I turned to the internet andsoon tracked down my favorite poet, A.R. Ammons (1926-2001).Once I stumbled on “Eyesight,” I remembered having loved the poemyears before. Archie must have loved it, too, because he included it bothin his Collected Poems 1951-1971 and in the later Selected Poems. It haseverything you want in an Archie Ammons poem: what Edward Hirschcalled his “offbeat, sideways, unpredictable radiance,” his “homespunglory.” It has one of his trademark conversations with a mountain (perhapsfrom his native North Carolina), it has the fluid motion from one line tothe next (enjambment, if you want to get technical) that won’t let him orhis reader rest till the very last word of the very last line, and it has in thatlast line one of those sudden insights that leave us breathless: “some thingsthat go are gone.”I miss Archie, but he’s not gone. I’m grateful for the wonderful poems heleft us, and I’m grateful that he was always generous and kind when I hadthe chutzpah to add my music to his.