Concert Band - Grade 1

SKU: AP.81-CB224472

Composed by François-Olivier Fortin. Concert Band. Score and Part(s). Duration 2:25. Eighth Note Publications #81-CB224472. Published by Eighth Note Publications (AP.81-CB224472).

ISBN 9781778930386. UPC: 685462030392. English.

We travel back in time to the land of Sumer (modern-day Iraq) to relive the tale of the mighty king Gilgamesh. He was an arrogant an abusive king, and the Gods decided to send the creature Enkidu, half-man and half-beast, to deal with him. After an epic battle, both opponents find themselves in awe of one another. Respect then brings a strong sense of friendship between them and they become like brothers, off to some mighty adventures. Check out The Epic of Gilgamesh by François-Olivier Fortin! (2:25).

Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.

Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.44641192L

For 5 Percussionists and Orchestra. Composed by Ellen Taaffe Zwilich. Contemporary. Large Score. With Standard notation. Composed 2003. 72 pages. Duration 30 minutes. Theodore Presser Company #446-41192L. Published by Theodore Presser Company (PR.44641192L).

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.

Voice

SKU: HL.14015291

Composed by Simon Holt. Music Sales America. Classical. Book [Softcover]. Composed 2002. Chester Music #CH61394. Published by Chester Music (HL.14015291).

ISBN 9780711967120.

Daedalus Remembers is the third part in a trilogy called 3 for Icarus. Daedalus was Icarus' father and a famous craftsman. He once forged a magic sword for Peleus which had a property of making its owner victorious in battle, and he also created the labyrinth of King Minos of Crete in which the Minotaur (half bull, half man) was imprisoned. The second part of the trilogy is entitled Minotaur Games after Troy games, a kind of labyrinthine dance involving cords (Ariadne's thread?). At one point in the myth Daedalus and Icarus are also imprisoned in the labyrinth. They escape by means of wings which Daedalus has made from feathers and wax. Sadly, despite his father's warnings, Icarus flies too close to the sun in a fit of hubris, and the wings melt, causing him to plunge to his death. Daedalus alights safely on a beach in Sardinia, and after he has collected his thoughts remembers his son's fall and scenes from his own past life. Have the gods paid him back for the death of his nephew Talos, whom Daedalus killed in a fit of jealousy by pushing him off the top of a temple in the Acropolis? Daedalus rants and sorrows - dark memories nag persistently. Daedalus Remembers is scored for solo cello with flugelhorn, two horns, percussion, cimbalom, harp, three violas, four cellos and two double-basses.

Part I, II, III and IV. Composed by Alex Poelman. The Best Original Compositions for Concert Band/Catalogue Master Works Vol. 1. Molenaar Masterpieces. Recorded on The Seven Wonders of the Ancient World (ML.311080720). Full set. Duration 20 minutes, 58 seconds. Published by Molenaar Edition (ML.012792100).