SKU: BT.DHP-0991451-030
Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting Pacific Dreams Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of Pacific Dreams, he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti.Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his Pacific Dreams.Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.Wir schlüpfen in die Haut von Miguel und reisen mit ihm nach Australien. Einigermaßen entfremdet von seiner spanischen Heimat schlendert er durch das Viertel The Rocks in Sydney. Auf einem kleinen Markt entdeckt er einen Druck des Gemäldes Pacific Dreams von William DeShazo. Das Bild stellt die Meeresbrandung auf einer exotischen Insel im Pazifik dar. Während die eindrucksvolle Harbour Bridge von Sidney vor ihm auftaucht, ist er in Gedanken bei den heißen Stränden im Stillen Ozean. Auf einmal kommt ihm das Thema in den Sinn, das er einst über die Gewässer Japans komponiert hatte. Liegt es an den asiatischen Einflüssen, die im kosmopolitischen Sydney so vielfältig vertretensind? Oder sind es die Wasser rund um Sydney, über die er nach Tahiti segeln könnte? Er ist sich unsicher. Könnte er genau dieses Thema für eine neue Komposition über die Metropole Sydney verwenden? Wie sollte er seine Träume vom Pazifik, seine Pacific Dreams, in diese Mixtur einbringen? Vielleicht könnte er den Wortschatz von Inseln wie Hawaii und Tahiti für seine Komposition verwenden. Und einen gemischten Chor die schönen Vokalverbindungen ad libitum singen lassen. Mit diesen Ideen im Kopf steigt er in die Metro am Circular Quay. Auf ins Hotel und frisch ans Werk! Jetzt muss er einfach komponieren....
SKU: PE.EP72822
ISBN 9790577011769. 232 x 303mm inches. English.
I have only visited Damascus once, twenty years ago, on the way to Palmyra. I had a purpose (I was writing music for a play about Palmyra’s Queen Zenobia) but essentially I was a tourist. Like any visitor, I was thrilled to step out of the noisy modern city into the magical ancient world of the walled Old City, its vibrant souk leading to the magnificent mosque, and a labyrinth of winding, narrow streets filled with the smell of unleavened bread.
In Palmyra, I was met with extraordinary kindness everywhere. On one occasion, a little Bedouin boy noticed that I was risking sunstroke wandering bare-headed among the spectacular ruins: he showed me how to tie a turban, then took me to have tea with his family in their tent.
Since then, I have watched helplessly as these places of wonder have been devastated and their inhabitants scattered and killed. When the Sacconi Quartet suggested that I might choose a Syrian poet for our collaboration, I welcomed the idea.
I searched for a long time to find a contemporary poet whose work might gain from any music I could imagine. I felt it was important to find first-hand accounts of the Syrian experience – but, of course, I was always reading them in translation. In an anthology called Syria Speaks, I was astonished to read something that looked like prose, but was full of poetry. It was Anne-Marie McManus’s fine translation of Ali Safar’s A Black Cloud in a Leaden White Sky – an eloquent, thoughtful, contained yet vivid account of life in a war-torn country, all the more moving for its restraint.
In setting these words, I have not attempted to imitate Syrian music. However, there is what might be called a linguistic accommodation in my choice of scale, or mode. Several movements are in a mode that I first discovered while writing a cantata commemorating the First World War: it has a tuning that I associate with war, its violence and desolation. This eight-note mode is similar to scales found in Syrian music. I did not choose it in the abstract: it emerged from the harmonies I was exploring in the earlier work, and emerged again as I was looking for the right musical colours to set Ali Safar’s words. In this work, its Arabic aspect is more prominent. - Jonathan Dove
SKU: CF.CAS112
ISBN 9781491151310. UPC: 680160908813. 9 x 12 inches. Key: E minor.
Peter Terry's Unleashed?makes for an impressive concert opener that is the musical equivalent of unleashing a caged animal. The piece is exciting from start to finish, with energetic and bold material that students will love to play.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun.The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end.I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.Peter Terry, 2018.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
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