| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more. SKU: PR.11641963L Composed by Chen Yi. Large Score. 58 pages. Duration 20 minutes. Theodore Presser Company #116-41963L. Published by Theodore Presser Company (PR.11641963L). UPC: 680160684489. The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes. The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes. $55.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Road Not Taken Carl Fischer
Choral Cello, Piano, alto 1, alto 2, soprano 1, soprano 2 SKU: CF.CM9750 ...(+)
Choral Cello, Piano, alto 1, alto 2, soprano 1, soprano 2 SKU: CF.CM9750 Composed by Z. Randall Stroope. Duration 4 minutes, 48 seconds. Carl Fischer Music #CM9750. Published by Carl Fischer Music (CF.CM9750). ISBN 9781491162385. UPC: 680160921133. Key: F major. English. Robert Frost. About the workFew American poems are as well known as The Road Not Taken. Robert Frost, the author, is an international icon, not unlike Pablo Picasso, Winston Churchill or Mark Twain in their own disciplines. The poem is full of contradictions and quirks of form and structure. Perhaps that illusiveness is part of the poem's intrigue. But beyond all of the literary devices that only a few scholars may fully appreciate, this poem has taken on a sort of fanfare for the common person credo - a challenge to individualism, stepping out on one's own, and breaking the mold out of sheer determination if nothing else. Frost connects to the core of the human spirit in just a few stanzas using the analogy of a fork in a road. The message super cedes geography, culture, race or creed. Rather, it is part of the DNA of most every person on the planet - the inner desire to feel empowered to create one's own destiny, to forge a road not taken, and ultimately in doing so, to make a difference.Rehearsal notesResearch strongly suggests that there is a direct connection between the first rehearsal and the performance. First impressions last. I find it helpful to immediately lock three concepts into place - mechanics (notes/rhythms), text/phrasing (intent and motivation) and color (timbre). Performers need to think musically from the first reading forward (first impression). The cello is very much a collaborative instrument in this work, and should be located in front of the ensemble (not to side). Lastly, let the text speak. The simplest melodic lines are often the most exposed. Keep the voices clear and transparent, floating over the top in softer passages, and singing with vibrancy and forward focus throughout.Z. Randall Stroope. $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| I Will Not Be Sad In This World Theodore Presser Co.
Chamber Music Electronics, alto Flute SKU: PR.114422360 Composed by Eve B...(+)
Chamber Music Electronics, alto Flute SKU: PR.114422360 Composed by Eve Beglarian. Sws. Score. 8 pages. Duration 6:30. Theodore Presser Company #114-42236. Published by Theodore Presser Company (PR.114422360). ISBN 9781491133828. UPC: 680160683321. 9 x 12 inches. Based on an Armenian troubadour song, I WILL NOT BE SAD IN THIS WORLD is a uniquely beautiful work for alto flute (or bass flute) accompanied by a pre-recorded audio track made purely from the composer’s own singing. The result is a fluid interplay between the live flute and the composer’s multi-tracked and processed vocal sonorities. The work was created for Marya Martin’s “Eight Visions†collection (published by Presser), and is now available as a single publication. I will not be sad in this world is based on the song “Ashkharumes Akh Chim Kashil†by the legendary 18th-century Armenian troubadour Sayat Nova. The song is often played on the duduk, and your flute playing should respond to the ornamentation, intonation, and vibrato of traditional duduk playing.In playing this piece, you will want to be flexible with time: the 32nd notes are mostly notated grace notes coloring the following note, and can be compressed towards that next note for effect. Similarly, the meter should be downplayed: use the pre-recorded part to give you guideposts, and then shape your phrases quite freely around those guideposts.I strongly suggest that you listen to my demo recording of the piece, as it will give an indication of what I am looking for. I have not transcribed every note that I sang on the demo, and similarly, once you feel comfortable with the playing style, you can ornament the melody with some flexibility yourself. The notated turns are meant to indicate places where it is most natural to do some ornamentation.The piece can be played on either alto flute or bass flute. I am hoping for a certain vulnerability in your playing, so choose the flute that will help you most with that. If you are playing in a dry hall, you might consider slight amplification, not for volume, but to allow you to add reverb to your sound. It will then be easier to blend well with the tape part.Optionally, one (or even two) additional flutists may double the lines called “voice†that are part of the tape part. The additional player(s) should play more softly than the soloist, and get even softer as the piece progresses and the electronics take over.* * *Thanks to Marya Martin who commissioned the piece. Many thanks to my friend and colleague Margaret Lancaster, who tried out the piece for me and advised me about notation. Thanks also to the Civitella Ranieri Foundation who were my generous hosts while I was writing I will not be sad in this world.The audio accompaniment and the demo are available for free download from the “Additional Downloads†tab at www.presser.com/114-42236. $11.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Eugen Onegin Op. 24 Deutscher Verlag für Musik
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB - picc.2.2.2.2. - 4.2.3.0. - timp - hp - str) SKU: BR.DV-6081 Lyrical Opera in 3 Acts. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Manfred Koerth / Wo Ebermann. Arranged by M. Koerth and W. Ebermann. Choir; Softbound. Deutscher Verlag. Opera; Music theatre; Romantic. Piano/Vocal Score. 300 pages. Deutscher Verlag fur Musik #DV 6081. Published by Deutscher Verlag fur Musik (BR.DV-6081). ISBN 9790200460032. 9.5 x 12 inches. Duration: full evening
Translation: German (W. Ebermann/M. Koerth), Engl. (D. Llyod-Jones), French (M. Delines) Place and time: Partly on the estate, partly in Petersburg, in 20ies of the 19th Century
Characters: Larina, Owner of the Estate (mezzo-soprano) - Tatiana (soprano) and Olga (alto), her Daughters - Filipjewna, Wet Nurse (mezzo-soprano/alto) - Eugen Onegin (baritone) - Lenskij (tenor) - Prince Gremin (bass) - A Commander (bass) - Saretzkij (bass) - Triquet, a French Man (tenor) - Guillot, a Valet (silent part) - Country Folk, Ball Guests, Squire, Officers (chorus) - Waltz, mazurka, polonaise and Russian dance (Ballet )
There is an interesting parallel between the subject of the opera and Tchaikovsky's life during the year he wrote the work (1877): in each case, a letter provokes fateful developments in the lives of the protagonists. In the opera, Tatyana's love letter to Eugene sets off the tragedy, whereas in real life, the love letter of a pupil led the composer into a marriage, which lasted all of ... three months. Tchaikovsky took this doomed decision without love, solely because the circumstances want it and because I cannot act differently. Certain allusions made, for example, in a letter of January 1878 to Taneyev suggest that the composer's personal situation also flowed into the work: I did not want anything to do with the so-called 'grand opera.' I am looking for an intimate but powerful drama which is built on the conflict of circumstances which I myself have seen and experienced, a conflict which truly moves me. Partly for this reason the composer decided to call the work not an opera but lyrical scenes.Eugene Onegin, conceived by Tchaikovsky for limited resources and a small stage, is the most frequently performed Russian opera today along with Mussorgsky's Boris Godunov, which represents a completely contrary aesthetic stance.
Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend.
Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.
Neben der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.
Tchaikovsky's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.
The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.
In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'. $76.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Tsunami Theodore Presser Co.
Chamber Music SKU: PR.16400213S Composed by Dan Welcher. Spiral. Full sco...(+)
Chamber Music SKU: PR.16400213S Composed by Dan Welcher. Spiral. Full score. With Standard notation. 1+37 pages. Duration 11 minutes. Theodore Presser Company #164-00213S. Published by Theodore Presser Company (PR.16400213S). UPC: 680160037636. 8.5 x 11 Landscape inches. The unusual combination of cello, percussion and piano seems more incongruous than it actually sounds. When I first heard the ensemble Aequalis, in a full evening program I was absolutely astonished at the combination of lyricism, pulse, and color. Something about the mix causes the cello to sound marimba-like, the vibraphone to imitate the cello's harmonics, and the piano to become a kind of proto-orchestra of colors and effects. Tsunami was written for Aequalis in the summer and fall of 1991 with the assistance of a grant from Chamber Music America. The title, the Japanese word for tidal wave (which is a misnomer -- tsunamis have nothing to do with the tides), refers to the phenomenon of an undersea disturbance causing a huge wall of water to flood the first land in its path. The initial earthquake or volcanic eruption that sends a seismic shock through the water is invisible -- it's only when that shock wave hits land, recoils, and takes ocean swells back with it, that the wave begins to form. In successive landings, recoilings, and re-landings, this force finally spends itself, usually inundating anything in its path, sometimes to a depth of one hundred feet or more. My piece does not attempt to depict this natural cataclysm -- how could it, with three instruments? -- but the form of the first half of the work is based on it. The initial percussive shock that opens the piece creates a stir in the form of a cello motive marked swelling and employing long portamenti pushing upwards. After a second shock, the cello motive begins an undersea journey -- very slow and lyrical at first -- accompanied by non-pitched percussion only. Eventually the piano joins, first with echoing bass notes, then with a rather mechanical motive high on the keyboard. This force grows, the cello line climbs higher and higher until another double-shock is heard -- perhaps the energy has hit land? Following this, the percussion becomes melodic (marimba), and we now have two lines in canon accompanied by a separate line in the piano. This, too, builds to a climax, and an even louder and more vigorous shock results. Now the texture is a three-way canon with cello, vibraphone, and piano chasing each other in ever faster cycles of sound. The height of this is a triple cadenza in which all three players spend their pent-up energy, one at a time. The second part of the piece follows after a settling-down, and is marked Dancing. This is a rondo, with a recurring theme (heard first in the marimba) followed by three contrasting sections heard between reiterations of the main tune (the form could be diagrammed A-A-B-A-C-A). The mood is one of joyous kinetic energy, with elements of Eastern or Balinese gamelan sounds, and employing several pentatonic scales (as does the first half of the work). It ends in a vigorous, stomping dance. --Dan Welcher  . $31.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Over the Sea to Skye Hal Leonard
2 Part Choral (SA) SKU: HL.394642 Voices in Harmony. Voices in Har...(+)
2 Part Choral (SA) SKU: HL.394642 Voices in Harmony. Voices in Harmony. Concert, Festival, Folk. Octavo. Duration 180 seconds. Published by Hal Leonard (HL.394642). UPC: 196288033028. 6.75x10.5x0.029 inches. This beautiful Scottish Folk Song is here beautifully set with an optional classical guitar accompaniment--the piano accompaniment is modeled after a classical guitar. A QR code is provided with the music which takes you and your students to added content that includes SEL teaching resources and video from the arranger to help you identify intersections between the music and text. SEL Guidelines, Videos and Supplemental Content can be found here. $2.30 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Philip Sparke : Between the Two Rivers Concert band [Score and Parts] Anglo Music
Score and Parts Elite Series. By Philip Sparke. ANGLO MUSIC PRESS. Published by ...(+)
Score and Parts Elite Series. By Philip Sparke. ANGLO MUSIC PRESS. Published by Anglo Music.
$294.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Oxford Book Of Flexible Anthems Sp Choral [Vocal Score] Oxford University Press
The Oxford Book of Flexible Anthems composed by Alan Bullard (1947-). For flexib...(+)
The Oxford Book of Flexible Anthems composed by Alan Bullard (1947-). For flexible instrumentation. Mixed Voices. Sacred. Spiral-bound paperback. 296 pages. Published by Oxford University Press
$32.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Exit the Foundry Euphonium [Sheet music + CD] Potenza Music
By Ben Hase. For Euphonium and CD. Solo music, 20th century. Published by Potenz...(+)
By Ben Hase. For Euphonium and CD. Solo music, 20th century. Published by Potenza Music
$21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Divertimento I Editorial de Musica Boileau
2 violins or violin and flute SKU: BO.B.3102 Composed by Jordi Cervello. ...(+)
2 violins or violin and flute SKU: BO.B.3102 Composed by Jordi Cervello. Woodwind. Duration 10:00. Published by Editorial de Musica Boileau (BO.B.3102). ISBN 9788480201988. English comments: Divertimento I and Divertimento II, for two violins were composed in 1996. These two sister compositions have the additional attraction of being unedited works which are representative of the composer's most recent style. This etymological description, which defines a personality rather than an established musical style, takes the form of a succession of contrasting dynamic movements. One of the most outstanding features is the way in which the two instruments break away from their usual range of sounds to create the ideal conditions for suggesting their latent extent of sound possibilities in compositions that could be extended perfectly well into a string quartet. The interplay between the two instruments opens up a whole range of possibilities: short motives in an imitative style often braking out into a repetition of brief themes with a lot of personality, sequences of transformations, repetitive rhythms, etc. All theses show the virtuosity of the players on their own and together and because of their characteristics, they are written in a very clear tonal language, a times, modal, oriental, or even pentatonic. The progression of the movements is governed by a desire for variety: between the fast opening and closing movements there is a sequence of relaxed andante -some of which are in an easy two-part canon style- in scherzzi -and these are the lightest, most airy fragments of the two Divertimenti. Recordings: Ilia Ioff and Ilia Teplyakov (violins), Columna Musica (1CM0156). --Lluis Millet
Comentarios del Espanol: Divertimento I y Divertimento II, para dos violines fueron compuestos en el ano 1996. Un atractivo adicional de estas dos composiciones hermanas raya en su condicion de obras ineditas y representativas de la ultima manera del compositor. La acepcion etimologica, que define un caracter mas que una forma musical establecida, se concreta aqui en una sucesion de movimientos contrastados de gran dinamismo. Cabe remarcar la capacidad de los instrumentos para superar su estricto ambito sonoro y crear las condiciones idoneas para sugerir toda la amplitud sonora latente en unas composiciones que, con toda propiedad, podrian ser ampliadas en cuarteto de cuerda. El juego al que se someten los dos instrumentos se halla abierto a multiples posibilidades: breves motivos en estilo imitativo susceptibles de desembocar en elementos tematicos reiterados, poco desarrollados y de fuerte personalidad, mutaciones secuenciales, ritmos obstinados, etc., que propician el virtuosismo individual y colectivo de los ejecutantes y que, por sus caracteristicas, se inscriben en un lenguaje tonal muy claro, ocasionalmente abierto, tambien, a trazos modales y orientalizantes e, incluso, a lo pentatonico. El criterio que rige la progresion de los movimientos responde a simples razones de variedad: entre los fragmentos extremos rapidos, inicial y conclusivo, una sucesion de andante distendidos -a veces en un descanso estilo canonico a dos voces- y de scherzo los fragmentos mas ingravidos y aereos de los Divertimenti. Grabaciones: Ilia Ioff y Ilia Teplyakov (violines), Columna Musica (1CM0156). --Lluis Millet. $23.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Three Celtic Prayers - I. The Tree of Life Choral 3-part SAB, Organ [Octavo] Paraclete Press
By J. William Greene. For SAB choir, Organ or Piano. Parish. Choral, Evensong, G...(+)
By J. William Greene. For SAB choir, Organ or Piano. Parish. Choral, Evensong, General. Easy/Medium. Choral octavo. Published by Paraclete Press
$1.60 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Best Love Songs Ever - 3rd Edition Easy Piano Hal Leonard
Electronic Keyboard; Organ; Piano/Keyboard SKU: HL.284127 E-Z Play(r) ...(+)
Electronic Keyboard; Organ; Piano/Keyboard SKU: HL.284127 E-Z Play(r) Today Volume 205. Composed by Various. E-Z Play Today. Love, Wedding. Softcover. 240 pages. Duration 420 seconds. Published by Hal Leonard (HL.284127). ISBN 9781540036483. UPC: 888680825881. 9.0x12.0x0.566 inches. Now in a 3rd edition, this romantic collection features 63 songs arranged in our patented E-Z Play(r) Today notation. Songs include: And I Love Her * Because You Loved Me * Can't Help Falling in Love * Endless Love * The First Time Ever I Saw Your Face * How Deep Is Your Love * I Will Always Love You * I'm Yours * Just the Way You Are * Longer * Love Story * My Heart Will Go on (Love Theme from 'Titanic') * The Power of Love * The Rose * A Thousand Years * Unchained Melody * When I Fall in Love * You Are So Beautiful * and more. About Hal Leonard E-Z Play Today For organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar. $17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Stabat Mater Op. 53 PWM (Polskie Wydawnictwo Muzyczne)
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Ba...(+)
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Baritone, Mixed Choir and Orchestra. Composed by Karol Szymanowski. Classical. Book Only. Composed 2000. 68 pages. Polskie Wydawnictwo Muzyczne #PWM5447. Published by Polskie Wydawnictwo Muzyczne (BT.PWM5447). ''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka]. $28.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Unit 7 Big band [Score and Parts] Jazz Lines Publications
Edited by Jeffrey Sultanof. Arranged by Duke Pearson. For big band (2 Alto Saxop...(+)
Edited by Jeffrey Sultanof. Arranged by Duke Pearson. For big band (2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Trumpets, 4 Trombones, Guitar (Optional), Piano, Bass, Drums). Swing/Latin. Difficult. Full score and set of parts. Published by Jazz Lines Publications
$65.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Songs of the Beatles - 3rd Edition Hal Leonard
E-Z Play Today #6 Electronic Keyboard; Organ; Piano/Keyboard SKU: HL.282553(+)
E-Z Play Today #6 Electronic Keyboard; Organ; Piano/Keyboard SKU: HL.282553 E-Z Play Today Volume 6. By The Beatles. E-Z Play Today. Pop. Softcover. 106 pages. Published by Hal Leonard (HL.282553). ISBN 9781540034496. UPC: 888680789404. 9.0x12.0x0.327 inches. 20 Fab Four favorites in our patented E-Z Play(r) today notation are presented in this updated 3rd edition. Includes: And I Love Her * Back in the U.S.S.R. * Can't Buy Me Love * Day Tripper * Eleanor Rigby * The Fool on the Hill * Hey Jude * I Want to Hold Your Hand * Let It Be * Ob-La-Di, Ob-La-Da * Penny Lane * Strawberry Fields Forever * Ticket to Ride * We Can Work It Out * Yesterday * and more. About Hal Leonard E-Z Play Today For organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar. $14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Coste -- Selected Works for Guitar Guitar Classical guitar Alfred Publishing
Composed by Napoléon Coste. Edited by Jeffrey McFadden. Book; C...(+)
Composed by Napoléon Coste.
Edited by Jeffrey McFadden.
Book; Classical Guitar
Folio; Masterworks. Alfred
Classical Guitar
Masterworks. Masterwork;
Romantic. 72 pages.
Published by Alfred Music
$16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Soundbreaking Hal Leonard
SKU: HL.275913 Stories from the Cutting Edge of Recording Music. E...(+)
SKU: HL.275913 Stories from the Cutting Edge of Recording Music. Edited by Robert Santelli. Book. Biography / Music Bisac, Biography/Composers & Musicians, Recording/Music Business. Hardcover Media Online. 144 pages. Published by Hal Leonard (HL.275913). ISBN 9781495177538. UPC: 888680745134. 9.0x12.0x0.756 inches. As Told By The Artists Foreword by George Martin Introductory Essays - Robert Santelli. This book was inspired by the eight-part Grammy(r) nominated film series titled, Soundbreaking: Stories from the Cutting Edge of Recorded Music. As Executive Producer, Sir George Martin, was the inspiration and intellectual force behind the series, which explores a century's worth of innovation and experimentation in the creation of music to present a behind-the-scenes look at the birth of new sounds. From the Beatles' groundbreaking use of multitrack technology to the synthesized stylings of Stevie Wonder, from disco-era drum machines to the modern art of sampling, Soundbreaking tells the stories behind the sounds and reveals how innovation redefined not only what we listen to and how we listen to it, but our very sense of what music is and can be. Soundbreaking features original interviews with more than 150 of the most celebrated artists, producers, and music industry pioneers of our time. This volume presents a curated selection of those interviews from across eras and genres. The twenty-one artists featured here share their personal insights, which point to themes that emerge and echo throughout: the importance of varied cultural influences on music careers; the role of technology innovation in the creative process; and most commonly, the human connection to music. Through their lens we discover fascinating new insights into music and especially into the relationship between artist and genres, an area that has been rarely studied. For some readers, this book will evoke many of the sounds and textures of days gone by. For others, it will serve to open doors to further enjoyment and that those readers will pursue artists and others whose names may not be familiar. Robert Santelli's introductions to each of the profiles puts each artist in context. They have all made valuable contributions to what has often been referred to as the soundtrack of our lives. Their music is as relevant today as when we first heard it. Recorded music has crossed the lines that separate cultures, ideas, and generations. In exploring the story of their own music, the voices in this book provide thoughtful insight to the extraordinary influences of recorded music on the modern world. $39.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Near Distance Theodore Presser Co.
Chamber Music Bass Clarinet, Cello, Clarinet, Cymbal, Flute, Percussion, Piano, ...(+)
Chamber Music Bass Clarinet, Cello, Clarinet, Cymbal, Flute, Percussion, Piano, Side Drum, Tam-tam, Temple Blocks, Tom-tom, Triangle, Vibraphone, Violin, Wood Block, alto Flute SKU: PR.11440744S Lost In Thought About Ancient Culture and Modern Civilization. Composed by Chen Yi. Full score. With Standard notation. 20 pages. Duration 9 minutes. Theodore Presser Company #114-40744S. Published by Theodore Presser Company (PR.11440744S). UPC: 680160011490. 9.5 x 13 inches. The sextet was written for flute (doubling alto flute), clarinet doubling bass clarinet), violin, cello, piano and percussion (triangle, 3 temple blocks, 2 wood blocks, side drum, cymbal, 4 tom-toms, vibraphone, small tam-tam, median tam-tam and big tam-tam). It presents the composer lost in thought about ancient culture and modern civilization and her thinking about the parallels and contrasts between the East and the West. Near Distance takes us through a journey that covers thousands of miles and thousands of years. Contrasting moments of dense, busy activity with sparse, haunting lines the composer bridges the gap between the timeless history of her homeland and the ever-changing, energetic life in the modern society. The work was originally written under the request of Prof. Jacob Druckman, for a composition workshop at the Aspen Music Festival. It is dedicated to his memory with admiration and respect. Near Distance has been featured in Sound and Silence, a series of ten documentary films on contemporary music, which has been broadcast on the European TV network since 1989, produced by the ISCM, Adamov Films and the Polish TV. It has also been recorded on CRI, released in 1999, under the title Sparkle: Chamber Music of Chen Yi. [now available through New World Records] --Chen Yi Her piece... generates a vivid and wholly radiant color scheme. Harmonically, too, it seems to float enchantingly, its occasional ventures into microtones gracefully bending away from traditional tonality. Gorgeous music, this; one longs to hear more. --Alan Rich, LA Weekly 'Near Distance' evinced some delicate, dramatic sonorities in its fusion of East Asian and Western musical impulses. --John von Rhein, Chicago Tribune. $32.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| String Quartet No. 2 String Quartet: 2 violins, viola, cello Theodore Presser Co.
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. Set of Score and Parts. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505. Published by Theodore Presser Company (PR.114405050). UPC: 680160008377. 11 x 14 inches. Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions. $130.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| String Quartet No. 2 String Quartet: 2 violins, viola, cello Theodore Presser Co.
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. Full score. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505S. Published by Theodore Presser Company (PR.11440505S). UPC: 680160008391. 11 x 14 inches. Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions. $75.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Struggle in the Shadows String Orchestra - Intermediate FJH
Orchestra String Orchestra - Grade 3 SKU: FJ.ST6474 Composed by Brian Bal...(+)
Orchestra String Orchestra - Grade 3 SKU: FJ.ST6474 Composed by Brian Balmages. Series; String Orchestra. FJH String Orchestra. Score and Part(s). Duration 5:15. The FJH Music Company Inc #98-ST6474. Published by The FJH Music Company Inc (FJ.ST6474). UPC: 241444399606. English. This powerful work tackles the issue of bullying in schools from the perspective of a student. Making use of a quartet within the ensemble (either a standard quartet or an option of using a second cellist instead of viola), the piece moves between the voices of the lonely and their experiences. From moments of solitude to anguish and hope, this piece seeks to bring light to an issue that continues to plague schools worldwide. About FJH String Orchestra More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Struggle in the Shadows String Orchestra - Intermediate FJH
Orchestra String Orchestra - Grade 3 SKU: FJ.ST6474S Score Only. C...(+)
Orchestra String Orchestra - Grade 3 SKU: FJ.ST6474S Score Only. Composed by Brian Balmages. Series; String Orchestra. FJH String Orchestra. Score. Duration 5:15. The FJH Music Company Inc #98-ST6474S. Published by The FJH Music Company Inc (FJ.ST6474S). English. This powerful work tackles the issue of bullying in schools from the perspective of a student. Making use of a quartet within the ensemble (either a standard quartet or an option of using a second cellist instead of viola), the piece moves between the voices of the lonely and their experiences. From moments of solitude to anguish and hope, this piece seeks to bring light to an issue that continues to plague schools worldwide. About FJH String Orchestra More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| High Flight Theodore Presser Co.
Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, a...(+)
Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, alto voice, bass voice, soprano voice, tenor voice SKU: PR.31241902S From Terra Nostra. Composed by Stacy Garrop. Full score. Duration 3:15. Theodore Presser Company #312-41902S. Published by Theodore Presser Company (PR.31241902S). UPC: 680160690589. English. Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately. Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World†by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child†praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!†Part I ends with “A Blade of Grass†in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall†sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,†William Ernest Henley’s “A Song of Speed,†and John Gillespie Magee, Jr.’s “High Flight,†each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,†Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge†concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness†speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming†gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us†warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace†speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?†and “There was a child went forth every dayâ€) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass†from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…â€My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her? $20.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| High Flight Choral SATB SATB, Piano Theodore Presser Co.
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. C...(+)
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. Composed by Stacy Garrop. Sws. Performance Score. 12 pages. Duration 3:15. Theodore Presser Company #312-41902. Published by Theodore Presser Company (PR.312419020). ISBN 9781491131862. UPC: 680160680474. 6.875 x 10.5 inches. English. Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately. Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World†by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child†praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!†Part I ends with “A Blade of Grass†in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall†sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,†William Ernest Henley’s “A Song of Speed,†and John Gillespie Magee, Jr.’s “High Flight,†each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,†Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge†concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness†speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming†gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us†warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace†speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?†and “There was a child went forth every dayâ€) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass†from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…â€My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her? $3.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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