SKU: PR.11641867S
UPC: 680160683208.
Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.
SKU: SU.94010400
2,1 2,1 2,1 2,1; 4331; timp, perc(3), cel, hp; stgs Duration: 11' Composed: 2013 Published by: Subito Music Publishing Performance materials available on rental: Alas! Babylon’s Final Sunset is another installment in my series of works that musically comment on the biblical books of Daniel and Revelation. The principal source of inspiration for this works comes from the 18th chapter of the book of Revelation. This chapter states that the career of Babylon the Great is finally coming to an end. The music begins with a mysterious pianissimo tremolo accompanied by tam-tam and bass drum. The initial flourishes in the oboes and English horn serve as the principal motive of warning. As the music continues, there are varying degrees of agitation among the strings and woodwinds. Throughout the work there are rhythmic motives in the brass, percussion, and various woodwind instruments that sing and speak Babylon is Fallen in triple meter. As the tutti ensemble arrives at a climax, the orchestral texture becomes thinner and slightly transparent. As the music continues, the opening motive returns in the oboes, however the counterpoint produces a series of solo laments. These passages are intended to provide picturesque images of these words: And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; And the light of a candle shall shine no more at all in thee. and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. Rev. 18:22-24 The following passages musically comment on the historical career of Babylon with a sense of her impending destruction. The series of laments transforms into the more emphatic rhythmic motive Babylon is Fallen. The orchestral texture begins to become more condense, once again, with the initial flourishes of, but with notable variations. Finally, the celesta, harp, oboes, English horn, and strings sing profundities that are finally transformed into a minor mode tonality that fades away with the ringing of the tam-tam. Babylon has finally seen her last sunset.
SKU: HL.1283364
UPC: 196288166641.
Dedication for chamber orchestra by William Bolcom was written in 2021-2022, especially for the ROCO Chamber Orchestra. The commission was the result of a meeting between Alecia Lawyer and the composer at a Great American Songbook concert, hosted by Arthurand Shelley Gottschalk. Dedication is a concise but dramatic work. Its threepart is determined by tempo and motif. The work begins with Intro: Moderato. After a very soft ostinato sounds from the depths of the orchestra, two melodies emerge: the first in the Piccolo and Eb Clarinet, the second in the English Horn and Bassoon. They are complemented by strings in close harmony and lyrical muted brass. This is followed by Feroce! which engages the tutti ensemble in a cascade of brilliant fortissimo block harmonies. The next section, Allegro molto, is characterized by agile, virtuosic passage work and brash chords. Tempo I returns with familiar motifs wrapped in six sharps. Marked espressivo e cantabile, tutti strings provide an incandescent conclusion. Then soft string glissandi allow the music to fade back from wherever it came. Dedication is orchestrated by his former student Edmund Cionek.
SKU: AP.49908
ISBN 9781470662387. UPC: 038081579580. English.
Zadok the Priest, the first of G. F. Handel's four Coronation Anthems, has been a cherished part of British coronation services from George II in 1727 to the current sovereign, Charles III. It is a magnificently resplendent work that embodies the essence of British pride and spirit. This terrific arrangement for string orchestra and piano by Douglas E. Wagner encapsulates the majesty of the original. This arrangement is also part of a larger festival setting with optional brass, timpani, and choir. Also available for S.A.T.B. (50210), S.A.B. (50211), S.S.A. (50212) with optional SoundTrax (50213) and SoundPax. (3:10).
SKU: AP.49908S
ISBN 9781470662394. UPC: 038081579597. English.
SKU: HL.49002099
ISBN 9790001022460. UPC: 884088054267. 9.0x12.0x0.228 inches.
This suite has been taken from the music of the Christmas tale of the same name. The instrumentation can be easily realized with four woodwind instruments, two brass instruments, timpani and strings. The 'Tanz der Holzpuppen', a foxtrot, is suitable as encore showing the humorous musician Hindemith who, in 1920, wrote to the Schott publishing house with a wink: 'Can you also make use of foxtrots, Bos-tons, rags and other kitsch? Whenever I cannot think of decent music, I write such stuff.'.
SKU: AP.41223
UPC: 038081504728. English. Various.
One suite provides ultimate flexibility! Select from Joy to the World, Deck the Hall, Chanukah, or Silent Night and perform any or all either as string orchestra, full orchestra, brass quintet, or woodwind quintet. All in one chart! Wow! (5:40).
SKU: KJ.O1081C
UPC: 8402701216.
This majestic and colorful overture features spirited, energetic motives and soaring lyrical phrases. The brass shine throughout this work, and memorable solos for members of the woodwind section will capture listeners' attention, as well.
SKU: KJ.O1082C
UPC: 8402701226.
South of the Border is a colorful five-movement suite featuring a Bossa Nova, Samba, Tango and other musical treats inherent of Latin American dances. This original work is designed to be played in its entirety, though single movements can be performed, with success, as well. The woodwind and brass parts are more challenging than the string parts.
SKU: AP.43784
UPC: 038081504964. English.
Often thought to be some of Haydn's best work, this symphony is perfectly set for strings with the brass and wind parts easily covered. Your students and your audience will find this excellent example of classical form intriguing and enjoyable. (2:40).
SKU: AP.43784S
UPC: 038081504971. English.
SKU: WD.080689269295
UPC: 080689269295.
About Sunday Sounds Series
Sunday Sounds Series Instrumentation:Woodwinds: 2 Flute, Oboe, 2 Clarinet, Bass Clarinet (doubles C Bass), Alto Sax (doubles French Horn), Tenor Sax (doubles Trombone,) Bari Sax (doubles C Bass)Brass: 2 French Horn, 3 Trumpet, 2 TrombonePercussion: PercussionStrings: 2 Violin, ViolaAdditional Parts: C Bass (Bassoon, Bass Trombone, Tuba, Cello, String Bass), Piano/Bass/Guitar, Drum Set, Harp, String Reduction
SKU: WD.080689256394
UPC: 080689256394.
About Coronation Series
Coronation Series Instrumentation:Woodwinds: 2 Flute, Oboe, 2 Clarinet, Bass Clarinet (doubles Tuba), Alto Sax (doubles French Horn), Tenor Sax/Baritone T.C. (doubles Trombone,) - All charts released since 3/1/02 include a Bari Sax part that doubles Tuba.Brass: 2 French Horn, 3 Trumpet, 3 Trombone, TubaPercussion:PercussionStrings: 2 Violin*, Viola* Cello/Bassoon, String Bass*simplified parts includedAdditional Parts: Harp, Rhythm, String Reduction
SKU: WD.080689277696
UPC: 080689277696.
SKU: WD.080689552786
UPC: 080689552786.
SKU: SU.90810110
Instrumentation: 3fl(picc), 2ob, 2cl, 2bn; 4hn, 3tpt, 3tbn(bs), tba; timp, 3perc, hrp, pno; strings Duration: 20' Full Score & Parts: available on rental Composed in 2002. Published by: Subito Music Publishing Composer's Note: De profundis ad lucem (out of the depths towards light) opens with an atmosphere of stillness, out of which two main sections emerge, one reflecting hope and the other struggle. Hope is expressed with a recurring theme that gradually layers upon itself, imparting a feeling of birth. This section suddenly gives way to struggle, represented with loud brass, biting accents, and thundering timpani figures. Following an extended musical landscape, these two sections return, only in reverse, with struggle resolving into hope. The work ends in tranquillity as it began. --N.G.
SKU: HL.48024806
ISBN 9781784543792. UPC: 888680978648. 8.25x11.75 inches.
Scored for baritone solo, small 'narrator' chorus, large chorus and orchestra, MacMillan's first Passion setting was composed in 2007. Lasting 87 minutes the work is divided into two parts, with 10 movements overall. As Paul Spicer has commented, “The originality of the St John Passion lies in MacMillan's ability to mix old with new, rather in the manner of Bach in his day. There are passages of sumptuous polyphony and there is a fresh look at the text where passages of Latin are interspersed with the Gospel story in English. In movement seven ('Jesus and his Mother'), MacMillan introduces not only part of the Stabat Mater but also his own words ('Lully, lulla, my dear darling'). The final movement, which is purely orchestral, is a kind of via doloroso march with a Scots lament over quite brass chords. The string writing here, with its elegiac cello lines, is deeply reminiscent of the early 20th-century English school. This should be the War Requiem of the 21st century.&rdquo.
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