SKU: PR.416414460

ISBN 9781598064766. UPC: 680160610631. 9x12 inches.

Roger Zare is living every young composer's dream. At a tender age, he has already been lauded by the best, and his compositions continue to earn awards. Green Flash, his first publication with Theodore Presser Company, was written in 2007 for the USC Thornton Symphony, received a BMI Student Composer award in 2007, was chosen to be read at the 2008 American Composers Orchestra Underwood New Music Readings, won the ASCAP Rudolf Nissim Prize in 2009, and has now won the 2012 Symphony in C Young Composers' Competition. For more about Green Flash and a YouTube video of the premiere performance, see the composer's website (www.rogerzare.com/greenflash.htm).
A “green flash” is a rare atmospheric phenomenon that occurs as a sunset reaches its end. If conditions are just right, then a spark of green will hover on the horizon for a fleeting moment as the sun disappears. I first witnessed this subtle effect in Florida in 2005. Seeing the mythical event for the first time inspiredthis composition. Green Flash is a musical journey from daybreak to sunset. It focuses on the manipulation of colors and textures throughout its five sections. The musical events are designed to paint a picture of various scenes during the day. The piece begins with the heartbeat of the world emerging from the silentdarkness of the night. As night transitions to dawn, waves of color propagate from the repeating low C, building up through the harmonic series to become the vibrant colors of sunrise. Eventually all twelve notes of the chromatic scale are sounding together. Abruptly, a morning fog engulfs the scene. Out of the mist rises the only melodic theme in the work, played by a solo English horn, and later taken up by other solo winds. Once the fog dissipates, the sky fills with the playful dance of wispy cirrus clouds. A rainbow-like halo surrounds the sun, adding a burst of color to the scene. This carefree, optimistic cloud dance is invaded by a menacing front of cumulonimbus clouds. A storm rages at a frantic pace, but in its dying breath yields the most glorious of sunsets. Only as the last glint of sunlight disappears below the horizon, a faint sparkle of green lingers in the atmosphere.

SKU: BT.DHP-0950615-015

The title of this thrilling piece indicates exactly what composer Johan Nijs wants his new work to be, a spectacular introduction.Spectroduction does not disappoint on both counts, grabbing the audiences attention from the first beat. This will make for a spectacular way to open your next concert.

Een sensationeel begin van uw concert! Dat is dit razendsnelle werk van Johan Nijs met een goed gekozen titel… Want Spectroduction is natuurlijk een combinatie van ‘spectaculair’ en ‘introduction’. Met zo’n titel opent u uw concertdirect goed en zeggen we niets te veel: een spectaculair openingswerk dat het publiek van het begin tot het einde in zijn greep houdt!

Der Titel dieses rasanten Werkes zeigt, was Johan Nijs mit der Komposition ausdrücken wollte: In Spectroduction stecken die Begriffe spectacular“ und introduction“ und dieses Versprechen hält auch die Musik: ein spektakuläres Eröffnungswerk, das Ihnen die Aufmerksamkeit des Konzertpublikums vom ersten Ton an sichert!

Pour définir les caractéristiques de sa composition, Johan Nijs a créé un amalgame des mots spectaculaire“ et introduction“. En d’autres termes, Spectroduction est une pièce dont le thèmed’introduction, spectaculaire et brillant, met en valeur la souplesse et la flexibilité de votre orchestre d’harmonie.

Un titolo non convenzionale per un brano altrettanto fuori dal comune. Il titolo, formato dalle parole “spectacular” e “introduction”, rispecchia in pieno il brano: un’introduzione spettacolare al vostro concerto, che catturer l’attenzione del pubblico.

SKU: RU.10262

9 x 12 inches.

The Battle of the Winds is a technical showcase in march form. Charles Duble’s experience as a low brass (trombone) player is particularly evident in the second strain of this march. From the first note, to the final stinger, the execution of the individual parts of this march most certainly present a battle to all wind players. Battle of the Winds is certainly not for the faint of heart – the faster the tempo, the more difficult the march! As this is a circus march, a tempo between 132-160 beats per minute is acceptable, with the technique of the ensemble defining what is most appropriate.

SKU: PR.312419090

ISBN 9781491135778. UPC: 680160687848. English, Hebrew.

In Stacy Garrop’s inspired hands, divisi mixed chorus provides a rich palette of texture and color. Her setting intermingles three versions of the Hebrew folk tune, taking artistic advantage of contrasts between solo and tutti, homophony and grand antiphony, divisi men and divisi women, and the gradual braiding and unbraiding of Hebrew and English texts. LO YISA GOY is the explicitly anti-war Scriptural text better-known in its English translation that begins, “And they shall beat their swords into plowshares... nation shall not lift up a sword against nation.”.
When Jonathan Miller asked me to write two pieces for Chicago a cappella, I knew right away that I wanted to choose two songs from my own past.The first piece, Hava Nagila, is a celebratory song full of joy. I wanted the second work to contrast the first, and to this end, I chose the somber text of Lo Yisa Goy, a prayer for peace. I remember singing this song as a young child in Hebrew school and synagogue, always in context (at least in my congregation) of praying for the state of Israel. I think we’re at a particular point in which people in a lot of different nations could use such a prayer. For this reason, you’ll hear the words in both Hebrew and English.In my research of previous versions of the melody, I discovered three variants for the tune, all of which I have incorporated into my piece.

SKU: FG.55011-524-8

ISBN 9790550115248.

In Kirmo Lintinen's Rondo burlesque (2007-2008) for bassoon and piano , the qualitative elements of the bar, with their upbeats, accents and GPs, create a refined musical rhetoric and are very much to the fore. At the premiere, Lintinen's manner of playing, with its sparing use of the pedal obscuring the first beat but not the sense of time, underlined the inherent character of the piece. The roguish poetic metres gambolled jerkily along, and although at surface level the music may appear guileless, Lintinen knows his polyphony, judging by the capital roving of his voices even in the homophonic textures. Kirmo Lintinen (b. 1967) is a man of many musical talents: composer, pianist and conductor. His catalogue encompasses almost all gen-res and categories of composition, from solo work to opera, and he operates with ease from one to another without being a crossover artist; in his case, the versatility is both internalised and innate. He often finds inspiration in French music of the 1920s and its intrinsic musicality. Humour and playfulness are characteristic elements of his music, as are a natural, musicianly approach and an enchantingly effervescent, even tongue-in-cheek texture.