SKU: PR.46500013L
UPC: 680160600151. 11 x 14 inches.
I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.
SKU: PR.465000130
ISBN 9781598064070. UPC: 680160600144. 9x12 inches.
Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,†for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,†and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Springâ€) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.
SKU: CF.CM9616
ISBN 9781491156711. UPC: 680160915255. 6.875 x 10.5 inches. Key: C major. English. Thomas Troeger.
This SSAA work, originally written for SATB voices celebrates the tenth anniversary of the Masterworks Community Chorale in Newnan, Georgia. The inspirational text is Somewhere I Have Never Traveled, a text by the Yale Theologian, Thomas Troeger. Somewhere I Have Never Traveled has potential for building tone and creating a panorama of colors, while at the same time creating emotional soundscapes, all through a delightful text that creates a dreamlike innocence.It has been a joy to re-voice this original SATB composition for SSAA voices and to collaborate with Heather Orr at Montgomery High School. In July 2014, my dear friend Kathy Bizarth commissioned me to compose a new work celebrating the tenth anniversary of the Masterworks Community Chorale in Newnan, Georgia. It was in September when we agreed on the inspirational text, Somewhere I Have Never Traveled, a text by the Yale Theologian, Thomas Troeger. I moved to Italy in January for a sabbatical, and in February, I spent four days composing the piece at the Palazzo Bassi Brugnatelli, a dear friend's villa in Robbiate, Italy. Interestingly enough, the middle part of the piece (mm. 30-39) and end of the piece came first (mm. 40-62). Completed in Conegliano in late February, this composition is very special to me as it was the first composition I wrote after my mother died, and it was also composed for a dear friend. I have a profound connection to what I hope will be a deeply inspirational composition to those who sing it. Somewhere I Have Never Traveled has real potential for building tone and creating a panorama of colors, while at the same time creating emotional soundscapes, all through a delightful text that creates a dreamlike innocence. Somewhere I have never traveled is the place I want to be... (Me too.).It has been a joy to re-voice this original SATB composition for SSAA voices and to collaborate with Heather Orr at Montgomery High School. In July 2014, my dear friend Kathy Bizarth commissioned me to compose a new work celebrating the tenth anniversary of the Masterworks Community Chorale in Newnan, Georgia. It was in September when we agreed on the inspirational text, Somewhere I Have Never Traveled, a text by the Yale Theologian, Thomas Troeger. I moved to Italy in January for a sabbatical, and in February, I spent four days composing the piece at the Palazzo Bassi Brugnatelli, a dear friend’s villa in Robbiate, Italy. Interestingly enough, the middle part of the piece (mm. 30-39) and end of the piece came first (mm. 40-62). Completed in Conegliano in late February, this composition is very special to me as it was the first composition I wrote after my mother died, and it was also composed for a dear friend. I have a profound connection to what I hope will be a deeply inspirational composition to those who sing it.Somewhere I Have Never Traveled has real potential for building tone and creating a panorama of colors, while at the same time creating emotional soundscapes, all through a delightful text that creates a dreamlike innocence.Somewhere I have never traveled is the place I want to be... (Me too.).
SKU: HL.367873
ISBN 9781705140291. UPC: 840126966657. 9.0x12.0x0.655 inches.
Commissioned by Caramoor Music Festival in New York and premiered July 14, 2017 by the Argus Quartet, this work is in no small part a response to this quartet's sense of adventure and expressive emotional range. Inspired by two end-of-civilization novels the composer was reading prior to composing the work, the quartet unfolds in a single movement, loosely based on plot lines in both novels. One of the novels includes a Traveling Symphony, an assortment of musicians and actors who travel the countryside for decades playing symphonies, jazz and orchestral arrangements of popular music alongside performances of Shakespeare plays, reminiscent of medieval troupes traveling the countryside in plague-ridden times. The work is written so that the quartet embodies the Traveling Symphony, not only playing music but also singing and 'stage whispering' fragments of King Lear and other text across the collection of nine scenes.
SKU: HL.367874
ISBN 9781705140307. UPC: 840126966664. 9.0x12.0x0.523 inches.
SKU: CF.YAS52
ISBN 9780825863608. UPC: 798408063603. 8.5 X 11 inches. Key: D major.
This is a striking and original piece that builds interest and momentum using a four note cello and bass ostinato. Arco and pizzicato contrasts of texture and off-beat accents and rhythms sustain interest in this unusual selection, which puts minimal musical resources to maximum use.A Road Less Traveled is a musical journey based on four notes. The cellos and basses provide these notes in mm. 2 and 3. The piece explores some new compositional techniques for me, and in some sections can be considered minimalist. However, I constructed the piece in a very accessible manner. The individual rhythms create new composite rhythms when played together. It has a unique clockwork quality to it. The music morphs from arco to pizzicato at m. 49. The odd accents bring out some of the quirky quality to the music. A return to arco playing at m. 94 provides a recapitulation of the opening section. Upon return, some of the punchy music now becomes sustained for a dramatic climax. This piece was a real joy to work on, and illustrates “a road less traveled†in my compositional career.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CL.023-3914-01
Real music using only the first octave! Exciting and dramatic, Time Traveler is a perfect introduction to mixed meters. The energetic, repeating ostinato (3/4 + 2/4) coupled with soaring melodies provides an easily achievable, but truly musical experience for your young musicians. On your next concert, take your band and audience on a journey through time withTime Traveler..
SKU: CN.R10243
This 3-movement tribute to H.G. Wells perfectly captures the imagination and wonderment found in the author's collection of works. The first movement is a march that could easily be extracted and performed on its own as a nice alternative to Sousa.The Time Traveller: A tribute to H.G. Wells is cast in three movements: March: Anticipation, Mankind in the Making, and A Modern Utopia. Commissioned by the Bromley Youth Concert Band and first performed under the Director: Peter Mawson, on Sunday, March 3, 2002, at the Queen Elizabeth Hall, South Bank Centre, London.
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