SKU: AP.24936S
UPC: 038081275895. English.
Imagine the stately bird, the blue heron, in the marshes along Lake Erie. When standing on one leg in the water, the bird is visible to the careful observer, yet their large wingspan makes them majestic flyers. This piece calls for a moderate tempo. After the short introduction, the next 16 measures are played piano, mezzo forte and forte. This is followed by two versions with variations. All players get to play the melody and bowings and dynamics make the music more interesting for the audience and performers as the piece comes to a loud ending.
SKU: SU.27020085
Jacob vs. Angel is a piece about crisis of conscience, ambiguity, and misinterpretation expressed through the depiction of a major battle, the goal of which is never made entirely clear. Based on the biblical story, the work is highly programmatic, with each of the six movements reflecting a corresponding stanza from the titular poem by Alice Weaver Flaherty. The piece was originally composed as a vehicle for virtuoso organist Heinrich Christensen, and later orchestrated. The first movement introduces the main musical material--a five note motive, the intervals of which are reorganized to create melodic and harmonic development throughout the piece. The second, third, and fourth movements depict the brutal fight between Jacob and the angel, and lead one to the next without pause. The fifth movement is about the post-battle scene, and the final movement is an epilogue, reframing the ideas from the previous movements. The music elucidates various actions from the Flaherty poem—sand skittering across the desert, aggressive acts of violence and sensuality between the protagonists, the beating of wings, feathers blowing in the wind, etc. But beyond the music's more literal elements, the work is designed to express an abstract state of mind, a sense of unease, and anticipation of what is yet to come. —Graham Gordon Ramsay2(2) 1,1 2 2; 2221; 7perc, hp, cel; stgs Duration: 24'Composed: 2023 Published by: Distributed Composer Jacob vs Angel was composed originally as a solo concert organ work in 2007; the orchestral version was completed in 2023. A live performance of the organ version can be seen at. Performance materials available on rental:.
SKU: HL.50600436
11.5x16.25x0.142 inches.
“'Kalaviuka' is an incarnated figure of the Buddha, the head of which looks human and the lower half like a bird with wings. In my work I would like to express the unity of man and nature, a conception deeply rooted in traditional Chinese art and culture, with a modern awareness. The musical material derives from traditional Chinese instrumental works which have birds as their subjects. In particular, these are passages (neither sung nor melodic) that imitate birdsong or depict the forms of birds by means of various instruments. These musical sections mostly consist of a combination of specially selected musical instruments with special techniques of sound production. My aim in composing this piece was to find out how these sounds could be transferred into an orchestra in order to develop a new musical vocabulary and new means of expression.†(Guoping Jia) The work was commissioned by Munich Biennale 2012 and Ernst von Siemens Musikstiftung.
SKU: AP.49426S
ISBN 9781470650940. UPC: 038081571850. English.
The composer, Mark Wood, writes: Come Fly with Me comes from my personal visualization of flying while improvising music. In writing a work which combines classical and American rock styles, I have created a vehicle for musicians to spread their wings and truly learn the beautiful art of composing their own music on the spot in the improvisation section. (4:00).
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: AP.49426
ISBN 9781470650933. UPC: 038081571843. English.
SKU: HL.49014563
ISBN 9790220109775.
SKU: HL.14017283
SKU: AP.48083S
ISBN 9781470663278. UPC: 038081558707. English.
This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental---free of charge. Sinfonia in D Major by Johann Christian Bach, and arranged by Jim Palmer, is an exciting arrangement from the classical era. Featuring detailed fingerings and bowings and a wide range of dynamics, this piece will help the students achieve that distinct classical sound right away. This is the perfect piece to teach style and a variety of bowings and is a great opener or closer to any concert or festival. (2:10) This title available in MakeMusic Cloud.
SKU: AP.48083
ISBN 9781470663261. UPC: 038081558691. English.
This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental---free of charge. Sinfonia in D Major by Johann Christian Bach, and arranged by Jim Palmer, is an exciting arrangement from the classical era. Featuring detailed fingerings and bowings and a wide range of dynamics, this piece will help the students achieve that distinct classical sound right away. This is the perfect piece to teach style and a variety of bowings and is a great opener or closer to any concert or festival. (2:10) This title is available in MakeMusic Cloud.
SKU: AP.43837S
UPC: 038081497136. English.
Written to give young orchestras a full sound, this original piece features all the notes and bowings learned in the first year of study. Each section gets to play both melody and harmony while working on staccato bowings and varied dynamics. (2:00).
SKU: AP.45862S
UPC: 038081529561. English.
This cute, simple arrangement features the bass section and makes them sound great! Have some fun with this cool medley featuring Jolly Old St. Nicholas and Jingle Bells that will brighten any holiday concert. Add props and attitude as the conclusion swings into the holidays with Bass-cally Christmas, arranged by Bob Phillips. (2:10).
SKU: AP.44856
UPC: 038081518640. English.
As performed in the fabulous Trans-Siberian Orchestra live concert, experience Trepak from The Nutcracker as you never have before. This arrangement by Bob Phillips includes parts appropriate for a community or professional symphony orchestra. The bowings are those that would be expected by professional players. The rock rhythm section contributes to an intense and very hip musical experience. Optional parts for electric guitar or electric violin can be used to add interest to the performance. If unfamiliar with TSO, check them out online. (4:25).
SKU: AP.44856S
UPC: 038081518657. English.
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