SKU: PR.416416140
UPC: 680160642441.
Time is one of the main factors impacting the world and our lives. Einstein saw time as the relationship of the motion of one object relative to the position of another object, as measured through observation. But can we really measure time objectively? Music, the art which moves through time, can affect our perception of time, and can affect each person's perception of time differently. Depending on the emotion it stimulates, music can make time seem to pass quickly or slowly. A composer can use music to convey time to an audience and different musical ideas can create different sensations of time. Absence of Time is a concerto for woodwind quartet and orchestra. It has three main sections (fast, slow, fast), recalling traditional concerto form, but it does not use the solo instruments in the traditional way, i.e., as soloists in contest with the orchestra. Inspired by the idea of juxtaposing different experiences of time, I divided the instruments into two groups: the four soloists and the orchestra. The orchestra functions mostly as the keeper of time (real time) while the quartet of soloists fluctuates (in imaginary time or in the absence of time) around the orchestra's time. While the quartet's instruments do play solos, they also play in ensemble with the orchestra. You could say that they play in both imaginary time (as soloists) and in real time (with the orchestra). In addition to this, the woodwind section of the orchestra plays in conversation with the solo quartet, calling it back to real time. Fusion is achieved at the end of the piece through the use of strong, driving rhythm. Absence of Time was commissioned by the Pacific Symphony and was first performed by the Pacific Symphony and the Pacific Symphony Woodwind Quartet with Carl St. Clair as conductor on October 20, 2016.
SKU: PR.41641614L
UPC: 680160642458. 11 x 17 inches.
SKU: KJ.GO103B
A Slow-Fast-Slow Rock Ballad Offering A Marvelous Change Of Pace For Young Orchestras. Grade 2 1/2.
SKU: HL.50512005
ISBN 9790080147214. 8.0x11.25x0.272 inches. Laszlo Dubrovay.
Laszlo Dubrovay wrote the following about Liszt and the piece now being published: +Liszt was for me the most important composer in my youth, and as a pianist I played a great number of his works. I admired him as an innovator, who enriched the technique of playing the instrument in a manner unparalleled in piano literature. Later his creative genius captivated me, as he opened up new paths for the future. His works paved the way for impressionism, expressionism, 20th-century folklorism and dodecaphonic thinking. His innovations were always material realisations of spiritual renewal. My Rapsodia ungherese follows the +Slow + Fast- single-movement formal concept of Liszt-s rhapsodies.+ Piano Score: 14633, score and orchestral material on hire.
SKU: AP.49053
ISBN 9781470647865. UPC: 038081567082. English.
The traditional bolero is a moderately slow dance in triple meter which originated in late-18th century Spain. Since then it has spread to other countries and become transformed in the process. The Cuban bolero became a bit faster in tempo and duple in meter. In the U.S. it became a staple of competitive ballroom dancing, even faster and in 4/4 time. Maurice Ravel's Boléro for orchestra harkens back to the slower Spanish dance in three. Wood's Bolero by Mark Wood, on the other hand, focuses on the American version but maintains elements of the dance's origins and first iterations. For string orchestra with optional rock rhythm section parts. (3:10)Download Play-Along Track
SKU: AP.49064
ISBN 9781470647841. UPC: 038081567068. English.
This multi-level piece includes a full set of parts for grade 2 as well as a full set for grade 4 ensembles. Mix and match the parts as you need---perfect for mixed-ability ensembles! The traditional bolero is a moderately slow dance in triple meter which originated in late 18th century Spain. Since then it has spread to other countries and become transformed in the process. The Cuban bolero became a bit faster in tempo and duple in meter. In the U.S. it became a staple of competitive ballroom dancing, even faster and in 4/4 time. Maurice Ravel's Boléro for orchestra harkens back to the slower Spanish dance in three. Wood's Bolero by Mark Wood, on the other hand, focuses on the American version but maintains elements of the dance's origins and first iterations. For string orchestra with optional rock rhythm section parts. (4:30)Download Play-Along Track
SKU: AP.49053S
ISBN 9781470647872. UPC: 038081567099. English.
SKU: AP.49064S
ISBN 9781470647858. UPC: 038081567075. English.
SKU: FG.55011-315-2
ISBN 9790550113152.
The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.
SKU: HL.14032192
ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).
Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.
SKU: AP.45831S
UPC: 038081523385. English.
Secret World is a high-energy, rhythmic work in E minor---with a mysterious theme---featuring a syncopated motive that will delight players. Chromatic harmonies give students opportunities to develop their intonation. This original work by Michael Hopkins combines the use of slow and fast bow strokes to help students learn to control the speed of the bow, and features a variety of dynamic contrasts. All sections of the orchestra have challenging and interesting parts. (4:20).
SKU: AP.38476S
UPC: 038081431604. English.
Jeunesse is a French word used to describe the time of one's youth, which is reflected in this music that is carefree, yet bittersweet. This lovely piece has a lilting quality that demands attention be paid to the legato markings, the equality between the voices, and the rhythmic pulse that moves the piece forward. Make sure not to lose the poignancy by playing the piece too fast or too slow. Let the music have control.
SKU: AP.47471S
UPC: 038081544816. English.
Written in the eerie key of F-sharp natural minor that attracts young students, this sound defines our scary monster called Stretch. Each section gets important melodic and countermelodic material. With two separate sections (slow and fast), a legato middle section, a jaunty pizzicato section, and a forceful coda, every section will be challenging. The work features simple rhythm patterns to make it more accessible and allow the student to focus on the three sharps.
SKU: AP.38476
UPC: 038081431598. English.
SKU: AP.47471
UPC: 038081544809. English.
SKU: HL.49019158
ISBN 9790220133206. 8.25x11.75x0.222 inches.
Written in 2010 for the Royal Liverpool Philharmonic, Wigglesworth's nine-minute work explores the idea of perpetuum mobile (continuous movement) in seven connected, miniature inventions. A regular pulse forms the work's core, with elaborations of the central musical idea shifting constantly around it in jagged rhythms and sumptuous orchestration. The composer writes, The seven sections can very briefly be described thus: 1) an active, miniature 'theme and variations'; 2) the juxtaposition of various fragmentary two-part inventions; 3) a tremolo string ostinato with woodwind interjections, building towards the first climax; 4) an ostinato passing between horns and muted trumpets together with a dialogue for high woodwind and low strings; 5) a very slow canon for string harmonics and pizzicato double basses; 6) a fast, one-part invention beginning with solo piccolo, and gradually leading to the second climax; 7) chorale.This is a lively orchestral miniature which gives the impression of a kaleidoscope, with short musical ideas cutting across each other in quick succession.
SKU: BT.YKM570369270
A Hymn to the Thames was commissioned by James Turnbull and the Music Director of the St Paul’s Sinfonia, Andrew Morley. It was begun in 2019 and completed early in 2020. There are four movements played without a break, which follow the Thames from its Cotswold source to the North Sea. As the first performance took place in St ALfege’s Church, Greenwich, this seemed appropriate. The solo oboe represents both a wanderer along the river path and the spirit of the river. The pitch centres of the movements spell out the musical letters of the river (tHAmES—B natural, A, E and E flat) so that the river’s name is projected across the whole work. In addition, the musical letters found in James Turnbull, Andrew Morley and my wife, Teresa Cahill ( who was born in Maidenhead and brought up by the river in Rotherhithe) are entwined in various guises. The first movement grows from the depths, the soloist entering with fanfare-like gestures, followed by lyrical music and breaks into a dance as the river gathers momentum. The third movement is slow and sustained and geographically the Thames flows through Oxford. The music is based on the well-known In Nomine ‘head motif’ from the Gloria tibi Trinitas Mass by the early Tudor composer, John Taverner, who was the first Director of Music at Christ Church, Oxford. The orchestra provides a screen or veil above which the solo oboe dreams and ruminates. This leads directly into the fourth and final movement which begins in the depths once more, interrupting the oboe’s held note from the end of the third movement. The waters’ increasing intensity and power are represented throughout by a moto perpetuo of quick, steady semiquavers. Near the close, the woodwind play O Nata Lux by Thomas Tallis, the great Tudor composer who, with his wife Joan, is buried in St Alfege’s. Beneath this, the lower strings continue the fast semiquaver movement of the river and, above, the violins are heard as a halo of harmonics. At the close, the oboe rises, opening out to the future, and celebrating its voyage, while the orchestra fades as the river meets the sea. A Hymn to the Thames lasts approximately 17 minutes.
SKU: HH.HH268-FSC
ISBN 9790708092209.
The musical material derives from transformations of the carol melody, which only appears with any degree of literalness in a dream like passage close to the beginning and vanishes – though, in some sense, its dna is present in every bar. The piece is through composed and consists of slow – at times, elegiac – music flanking fast central episodes. Two chords, which seem to signify a kind of question at the very beginning, return twice, later in the work.
SKU: HL.14024386
8.5x11.75x0.425 inches.
Overture Edinburgh was composed in 1952. There are certain elements in this work that bind it to the city of Edinburgh. The opening carries the rhythm of the word 'Edinburgh' itself. This rhythm occurs frequently throughout the work, sometimes in slow tempo, and sometimes in fast.
SKU: BT.MUSM570366699
English.
Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902), written and directed by the pioneering French film-maker, Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries, as well as the science fiction of Jules Verne. At the same time his work seems fantastic, surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide to launch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon’s face) and then encounter a strange race of aliens, whom they battle and destroy. The return to earth involves a dramatic descent, a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space, and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score, which is by turns abrupt, smooth, lyrical and violent, and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted, reflecting the violent encounters with the moon’s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers’ return from their adventuring. The music could be considered to be a surreal mini-opera without voices, voicing instead the characters of the silent screen. - Ed Hughes.
SKU: BT.MUSM570366712
SKU: HL.48024527
ISBN 9781784544591. 8.0x11.75 inches.
17-minute work for full orchestra commissioned by the Finnish Broadcasting Company. First performed by the Finnish Radio Symphony Orchestra at the BBC Proms in August 1997. The composer comments: The word Feria is Spanish for an outdoor festival or fair, the exuberance of which is alluded to in this work. In the fast opening section the explosive, rhythmic ideas, especially the trumpet fanfares which are a recurring motif in the piece, herald a lively public spectacle. The mainly slower-paced central section reaches a focal point which may well be recognised as a chord progression from Monteverdi's “Lasciatemi morire†(Lament of Arianna).
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