| The Crucible (Die Hexenjagd) Opera [Vocal Score] Galaxy Music Corporation
An Opera in 4 Acts. Composed by Robert Ward. Full Length Opera. 20th Century and...(+)
An Opera in 4 Acts. Composed by Robert Ward. Full Length Opera. 20th Century and Opera. Vocal score. With translations and plot synopsis. 288 pages. Galaxy Music Corporation #7.0028. Published by Galaxy Music Corporation
(3)$53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Country Gospel U.S.A.
Piano, Vocal and Guitar [Sheet music] Hal Leonard
For voice, piano and guitar. Format: piano/vocal/chords songbook. With four-part...(+)
For voice, piano and guitar. Format: piano/vocal/chords songbook. With four-part vocal score, lyrics and chord names. Gospel. 88 pages. 9x12 inches. Published by Hal Leonard.
(11)$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Jim Odrich Experience, with Orchestra: Pop Piano Played Easy Piano solo [Sheet music + CD] Music Minus One
For Piano. Includes a complete, high-quality printed music score with performanc...(+)
For Piano. Includes a complete, high-quality printed music score with performance suggestions; and a compact disc containing the complete version of each piece with soloist and accompaniment; then a second performance with accompaniments minus you, the soloist. Published by Music Minus One.
(1)$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| I Will Trust in the Lord Choral SATB SATB, Piano Lorenz Publishing Company
Composed by Lloyd Larson. Choral. Singable Solutions. Sacred Anthem. Octavo. ...(+)
Composed by Lloyd Larson.
Choral. Singable Solutions.
Sacred Anthem. Octavo.
Lorenz Publishing Company
#10/5353L. Published by
Lorenz Publishing Company
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| American Landscape String Orchestra [Score and Parts] - Intermediate FJH
By Soon Hee Newbold. String Orchestra. FJH String Orchestra. The many diverse an...(+)
By Soon Hee Newbold. String Orchestra. FJH String Orchestra. The many diverse and unique scenes of the United States include majestic mountains, vast plains, lush forests, deserts, small towns, and large cities. The people and wildlife throughout America are just as diverse as the landscape - rich in fantastic history with cultures from around the world. American Landscape was influenced by movie music and other American composers and inspired by the beauty and everchanging scenes of a cross-country trainride. Score for this title: ST6117S. Extra part for this title: ST6117P. Level: 3. Published by The FJH Music Company Inc.
(1)$50.00 - See more - Buy online | | |
| Paper Cut (Score Only) Concert band [Score] - Intermediate American Composers Forum
(BandQuest Series Grade 3). By Alex Shapiro (1962-). Score. BandQuest. Grade 3. ...(+)
(BandQuest Series Grade 3). By Alex Shapiro (1962-). Score. BandQuest. Grade 3. 28 pages. Published by American Composers Forum
$10.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| American Song Settings, No. 3 Concert band [Score and Parts] - Easy Alfred Publishing
( Barbara Allen ). Arranged by Joseph Kreines. Concert Band. Concert Band; Part(...(+)
( Barbara Allen ). Arranged by Joseph Kreines. Concert Band. Concert Band; Part(s); Score. Alfred Debut Series. Form: Variations. Folk. Grade 2. 122 pages. Published by Alfred Music
$46.00 $43.7 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| National Anthems Themes & Variations
SKU: TV.464 Book/CD. Published by Themes & Variations (TV.464). ISBN 9...(+)
SKU: TV.464 Book/CD. Published by Themes & Variations (TV.464). ISBN 9781894096690. Finally - a collection of national anthems in keys that you can sing! This collection includes a variety of arrangements of Canadian and American anthems, in more than one key. You choose the key that your students feel comfortable singing! Short and long versions of several songs are given - sing two verses of America the Beautiful or sing all four. Sing O Canada in English and French or just in one language. The book contains piano/vocal arrangements if you prefer to use piano accompaniments and reproducible vocal parts. The book includes piano/vocal arrangements in several keys, and reproducible vocal scores of Canadian and American National Anthems: O Canada, Star Spangled Banner, God Save the Queen, America the Beautiful, and My Country 'tis of Thee. The CD has beautiful fully orchestrated accompaniments for all anthems by noted arranger, Dominik Hauser. $20.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The All-American Concert band [Score] - Intermediate FJH
Concert Band Concert Band - Grade 3.5 SKU: FJ.B1285S Concert March...(+)
Concert Band Concert Band - Grade 3.5 SKU: FJ.B1285S Concert March. Composed by Chris Sharp. Concert Band. FJH Concert Band. Form: March. Patriotic. Score. Duration 3:00. The FJH Music Company Inc #98-B1285S. Published by The FJH Music Company Inc (FJ.B1285S). English. An excellent original concert march, this work is written in the traditional style of Fillmore, King, and Sousa, yet includes a few clever twists and turns to showcase your woodwind section. After the traditional dogfight, woodwinds shine in their light and playful feature. Brass return to complement woodwinds with a powerful statement of the trio theme. Stirring! About FJH Concert Band Designed for high school groups and upper-level middle school groups. Independence is encouraged, but many lines are cross-cued. Usually includes an expanded percussion section. Grades 3 - 3.5 $10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Beacon of the Bay Violin and Piano Theodore Presser Co.
Chamber Music Cello, Piano, Violin SKU: PR.114423360 Composed by Stacy Ga...(+)
Chamber Music Cello, Piano, Violin SKU: PR.114423360 Composed by Stacy Garrop. Set of Score and Parts. 24+12+12 pages. Duration 8:30. Theodore Presser Company #114-42336. Published by Theodore Presser Company (PR.114423360). UPC: 680160686285. When the Newport Music Festival commissioned me for a piano trio in honor of their 2021 season, I looked for a topic that would celebrate an aspect of the Newport community. While researching the area, I was struck by the nine lighthouses situated around the island. The dual nature of lighthouses was particularly appealing to me: not only do they serve a vital role in the navigation of ships around rocks and land, but they are also a beautiful sight, particularly at night when their blinking beacons are clearly visible to the eye. It occurred to me that lighthouses link the past with the present, and will endure long into the future, with their beacons serving the same purpose for every generation.I became fascinated with the lighthouse on the property of Castle Hill Inn, located at the opening of the East Passage of the Narragansett Bay. This squat thirty-four foot granite structure was erected in 1890 on a very picturesque spot, right at the water’s edge. Its “characteristic,†the nautical term for each lighthouse’s unique light sequence that allows ships to identify the lighthouse, is to alternate on for three seconds, then off for three seconds. The lighthouse has also served as the starting and finish line for numerous high profile yacht races, as well as survived a massive hurricane in 1938, though the lighthouse keeper’s nearby residence wasn’t so lucky. American novelist Thornton Wilder wrote much of his 1973 novel Theophilus North while staying at the Castle Hill Inn; a passage from the book perfectly captures the dual nature of lighthouses:“At a later visit I was able to engage the pentagonal room in a turret above the house; from that magical room I could see at night the beacons of six lighthouses and hear the booming and chiming of as many sea buoys.â€In Beacon of the Bay, we first hear the lighthouse’s characteristic as its ruby light blinks on and off. This is followed by a simple theme that represents the lighthouse performing its solitary duty. As the piece progresses, we hear waves playfully lapping around its base, then yachts gracefully floating by; this is followed by a violent storm that churns the waves with so much force that they crash against the lighthouse’s granite body. But the steadfast lighthouse holds firm to the rocks, grandly blinking its ruby light. The music quiets back down to its simple theme, with yachts sailing by once more as the piece concludes. $33.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Take Him, Earth Choral SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.342402020 In Memoriam John F. Kennedy...(+)
Choral SATB choir, piano SKU: PR.342402020 In Memoriam John F. Kennedy, 1917-1963. Composed by Steven Stucky. Sws. Premiered by ACDA National Conference, Craig Jessop, cond.; Meyerson Symphony Center, Dallas, TX. Secular choral. Performance Score. With Standard notation. Composed November 3 2012. 24 pages. Duration 13 minutes. Theodore Presser Company #342-40202. Published by Theodore Presser Company (PR.342402020). ISBN 9781598064995. UPC: 680160616084. 8.5 x 11 inches. English. Text: William Shakespeare; Aurelius Prudentius Clemens; Aeschylus. Aurelius Clemens, William Shakespeare, Aeschylus. Texts from Aurelius Prudentius Clemens, Aeschylus, and William Shakespeare. When Tim Sharp, Executive Director of the ACDA, offered Stucky the Brock Memorial Commission, it was decided that the text would commemorate the 50th anniversary of the assassination of John F. Kennedy, since the annual convention would take place in Dallas of that year. To that end, Stucky chose four different but pertinent texts to honor the occasion, although never referencing JFK by name. Take Him, Earth was premiered at the ACDA convention in March, 2013. Originally scored for chorus and chamber ensemble of nine instruments (available on a rental basis), Take Him, Earth is presented here in piano reduction. For advanced choirs. Duration: 13'. When Tim Sharp, Executive Director of the American Choral Directors Association, very kindlyoffered me the Raymond W. Brock Memorial Commission for 2013, he suggested that because thepremiere would take place at the national conference in Dallas in the 50th year since the assassinationof John F. Kennedy in that city, the text might refer in some way to that grim anniversary. Hesuggested, too, that I consider using a chamber ensemble or chamber orchestra to accompany thechorus.I took these suggestions to heart, but at the same time I wanted to write something universal enoughto be appropriate on other occasions, in other settings. Thus the score is dedicated to PresidentKennedy’s memory, but otherwise he is never referred to by name. Instead, I assembled a group oftexts that are associated with him in some way, but that also stand alone as a more general eulogy.As a refrain, there are a few lines from the early Christian burial hymn that begins “Take him,Earth, for cherishing†— lines that were earlier set to music by Herbert Howells in his classic motetcommissioned for Kennedy’s memorial service in 1963. The lines of Aeschylus “Drop, drop — inour sleep, upon the heart sorrow falls†from Agamemnon were quoted by Robert F. Kennedy uponthe death of Martin Luther King in April 1968. The celebrated “When he shall die, cut him out inlittle stars†from Act III of Shakespeare’s Romeo and Juliet was cited by RFK a few months after hisbrother’s murder. $4.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Overture On An American Folk Tune Concert band [Score and Parts] - Intermediate Alfred Publishing
Overture on an American Folk Tune by Douglas Akey. Concert Band. Concert Band. A...(+)
Overture on an American Folk Tune by Douglas Akey. Concert Band. Concert Band. Alfred Concert Band. Form: Overture. Contemporary; Folk. Grade 3. Conductor Score and Parts. 2 pages. Published by Alfred Music Publishing
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Junior Just Brass 10: Fraser Latin American Dances Chester
Brass Quartet and Percussion (Chamber Orchestra) SKU: HL.14011785 Juni...(+)
Brass Quartet and Percussion (Chamber Orchestra) SKU: HL.14011785 Junior Just Brass No. 10. Composed by Bruce Fraser. Music Sales America. Latin. Set. Chester Music #CH55383. Published by Chester Music (HL.14011785). ISBN 9780711943162. 9.0x12.0x0.162 inches. Edited by Philip Jones & Elgar Howarth. The Just Brass series is regarded by brass players worldwide as the most important brass ensemble series available. There are more than 100 titles subdivided into Just Brass (mainstream), Junior Just Brass, Just Brass Lollipops and Giant Just Brass. Supplied as score and parts together. Junior titles have been specifically chosen and edited for young players. The pieces are scored for four or five players and in some there are optional percussion parts. A large number of alternate parts are given, allowing for maximum flexibility in instruments required. $29.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Farewell Wish Carl Fischer
Choral alto 1, alto 2, solo Voices, soprano 1, soprano 2 SKU: CF.CM9768 C...(+)
Choral alto 1, alto 2, solo Voices, soprano 1, soprano 2 SKU: CF.CM9768 Composed by Z. Randall Stroope. Duration 3 minutes, 19 seconds. Carl Fischer Music #CM9768. Published by Carl Fischer Music (CF.CM9768). ISBN 9781491160343. UPC: 680160923298. Key: G major. English. About the WorkThe text of this work is most often attributed to Ralph Waldo Emerson, although it doesn't mirror his style, and no research credits an essay, book or letter with its source. Other individuals are occasionally suggested as possible authors, but equally unsubstantiated. Even whether the textis a poem or a quote seems unclear. But there is one thing that is without question: that this beloved text has inspired countless people and contributed toward a view of the world through eyes of hope, resilience, courage, beauty, and joy. Music for this text flowed more easily than about any text I have ever set. It has an emotional connection that is mystical, and after I read it for the first time, I immediately sat down and wrote this work without stop.Rehearsal NotesIn many cases, art is more expressive and reaches a wider range of human emotions when multiple artistic fields are fused together. Such is the case with choral music: the intertwining of literature, music, and very often dance, visual arts, and more. The story in choral music is often quite specific, much like film scoring. At times, the music is the picture frame (score) around the picture (text), while at others the music is the leading dramatic/emotional impetus.In the present case (My Farewell Wish), the text is sincere, innocent, heartfelt, and earnest. By all accounts, the message is altruistic, expressing selfless desire for another's present/future happiness. Capturing this message has a strong reliance on the performers to not only carry the emotional intent of the moment (a phrase of text or a measure), but the the energy and continuance of the message throughout.The use of the [o] vowel functions almost as instrumental interludes or underpinning of strings. The conductor may use the [o] as indicated in the score, or a [u] vowel, a hum (with [o] as the vowel inside the mouth), or all three at different times for different reasons. In an acoustical performance (no mic), the soloist and the ensemble are a reflection of each other's natural sound. And, even gentle, warm solo voices should have no trouble projecting.Two final thoughts: 1) the obbligato or added voice or two on high passages (m. 66) or a single note (final chord) will be best delivered by lyrical, pure voices with demonstrated control; and 2) the metronome marking of 80 bpm (mm. 1–81) was strongly considered and should be followed.About the ComposerZ. Randall Stroope is an American composer and conductor. His composition teachers were Normand Lockwood and Cecil Effinger, both students of the Nadia Boulanger, the famous French teacher (and student of Gabriel FaureÌ). Randall is the artistic director of two international summer music festivals, is an Honorary Board Member of the NationalAssociation of Italian Choral Directors, and has conducted in 25 countries. He has directed over 40 times at Carnegie Hall, and is a frequent conductor at other prestigious concert venues. Randall has 190 published works, and his music can be heard on Spotify, YouTube and other platforms, including his website (www.zrstroope.com). $2.30 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Grapes of Wrath Solo Aria Collection Tenor voice, Piano Carl Fischer
(16 Aria Excerpts from the Opera the Grapes of Wrath). By Ricky Ian Gordon. For ...(+)
(16 Aria Excerpts from the Opera the Grapes of Wrath). By Ricky Ian Gordon. For Baritone Voice and Piano, Tenor Voice and Piano, Mezzo-Soprano Voice and Piano, Soprano Voice and Piano, Bass-Baritone Voice and Piano. Published by Carl Fischer
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Nordanvind Concert band - Intermediate Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Set of Score and Parts. With Standard notation. 2+16+4+8+8+8+4+4+2+4+4+4+4+6+6+6+4+4+4+4+6+6+6+6+4+8+3+2+12+2+4+28 pages. Duration 6 minutes, 26 seconds. Carl Fischer Music #SPS71. Published by Carl Fischer Music (CF.SPS71). ISBN 9781491143544. UPC: 680160901043. Key: G minor. Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles. Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,†Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind†blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship†or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower†sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska†is a partner dance where the dancers spin each other (släng in Swedish “to sling or tossâ€) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska†dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak . $125.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Dominiques Dance/Bvs (Score only) String Orchestra [Score] - Beginner Alfred Publishing
By John Nieto. Orchestra. String Orchestra. Belwin Very Beginning String Orchest...(+)
By John Nieto. Orchestra. String Orchestra. Belwin Very Beginning String Orchestra. Light Concert. Grade 1. Score. 8 pages. Published by Alfred Music Publishing
$6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| String Quartet in F Major Op. 96 (American Quartet) String Quartet: 2 violins, viola, cello G. Henle
(Study Score). Composed by Antonin Dvorak (1841-1904). Edited by Peter Jost. For...(+)
(Study Score). Composed by Antonin Dvorak (1841-1904). Edited by Peter Jost. For String Quartet (Study Score). Henle Study Scores. Softcover. G. Henle #HN7232. Published by G. Henle
$15.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| the Body Electric Theodore Presser Co.
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Contrabass, Flute 2, ...(+)
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Contrabass, Flute 2, Harp, Horn 1, Horn 2, Oboe 2, Percussion 1, Percussion 2, Piano, Piccolo, Timpani, Trumpet 1, Trumpet 2, Viola, Violin 1, Violin 2, Violoncello, tenor Trombone SKU: PR.11640342S For Orchestra. Composed by Clint Needham. Study Score. 54 pages. Duration 9 minutes. Theodore Presser Company #116-40342S. Published by Theodore Presser Company (PR.11640342S). UPC: 680160687749. The Body Electric draws its inspiration from great American poet, Walt Whitman's work I Sing the Body Electric. Two years earlier, while writing a setting of Whitman's Crossing Brooklyn Ferry for baritone and chamber orchestra, I became enamored with many of the poems from his collection, The Leaves of Grass. I had not revisited Whitman's poetry since high school and that distance provided a fresh look at Whitman's poetry. In the spring of 2009, I came back to this collection and decided to write another work inspired by Whitman's poetry, this time for chamber orchestra alone. Writing a work that attempted to capture the mood of this epic poem seemed impossible. Because of the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blow of the poem seemed equally impossible. For me, the solution was to take three fragments of the poem and focus on conveying their particular moods. In the score, I have included the following lines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Body at auction. the Body Electric was written for the 2009 Wellesley College Composers Conference and was premiered on the final concert of the conference with Jim Baker conducting. Clint Needham. the Body Electric draws its inspiration from great American poet, Walt Whitman’s work I Sing theBody Electric. Two years earlier, while writing a setting of Whitman’s Crossing Brooklyn Ferry forbaritone and chamber orchestra, I became enamored with many of the poems from his collection,The Leaves of Grass. I had not revisited Whitman’s poetry since high school and that distanceprovided a fresh look at Whitman’s poetry. In the spring of 2009, I came back to this collectionand decided to write another work inspired by Whitman’s poetry, this time for chamber orchestraalone.Writing a work that attempted to capture the mood of this epic poem seemed impossible. Becauseof the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blowof the poem seemed equally impossible. For me, the solution was to take three fragments of thepoem and focus on conveying their particular moods. In the score, I have included the followinglines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Bodyat auction.the Body Electric was written for the 2009 Wellesley College Composers Conference and waspremiered on the final concert of the conference with Jim Baker conducting.Clint Needham. $34.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| the Body Electric Theodore Presser Co.
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Contrabass, Flute 2, ...(+)
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Contrabass, Flute 2, Harp, Horn 1, Horn 2, Oboe 2, Percussion 1, Percussion 2, Piano, Piccolo, Timpani, Trumpet 1, Trumpet 2, Viola, Violin 1, Violin 2, Violoncello, tenor Trombone SKU: PR.11640342L For Orchestra. Composed by Clint Needham. Large Score. 54 pages. Duration 9 minutes. Theodore Presser Company #116-40342L. Published by Theodore Presser Company (PR.11640342L). UPC: 680160687756. The Body Electric draws its inspiration from great American poet, Walt Whitman's work I Sing the Body Electric. Two years earlier, while writing a setting of Whitman's Crossing Brooklyn Ferry for baritone and chamber orchestra, I became enamored with many of the poems from his collection, The Leaves of Grass. I had not revisited Whitman's poetry since high school and that distance provided a fresh look at Whitman's poetry. In the spring of 2009, I came back to this collection and decided to write another work inspired by Whitman's poetry, this time for chamber orchestra alone. Writing a work that attempted to capture the mood of this epic poem seemed impossible. Because of the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blow of the poem seemed equally impossible. For me, the solution was to take three fragments of the poem and focus on conveying their particular moods. In the score, I have included the following lines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Body at auction. the Body Electric was written for the 2009 Wellesley College Composers Conference and was premiered on the final concert of the conference with Jim Baker conducting. Clint Needham. the Body Electric draws its inspiration from great American poet, Walt Whitman’s work I Sing theBody Electric. Two years earlier, while writing a setting of Whitman’s Crossing Brooklyn Ferry forbaritone and chamber orchestra, I became enamored with many of the poems from his collection,The Leaves of Grass. I had not revisited Whitman’s poetry since high school and that distanceprovided a fresh look at Whitman’s poetry. In the spring of 2009, I came back to this collectionand decided to write another work inspired by Whitman’s poetry, this time for chamber orchestraalone.Writing a work that attempted to capture the mood of this epic poem seemed impossible. Becauseof the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blowof the poem seemed equally impossible. For me, the solution was to take three fragments of thepoem and focus on conveying their particular moods. In the score, I have included the followinglines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Bodyat auction.the Body Electric was written for the 2009 Wellesley College Composers Conference and waspremiered on the final concert of the conference with Jim Baker conducting.Clint Needham. $61.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Jazz Dream Theodore Presser Co.
Chamber Music Flute(s) SKU: PR.144407290 Composed by Ali Ryerson. Perform...(+)
Chamber Music Flute(s) SKU: PR.144407290 Composed by Ali Ryerson. Performance Score. 4 pages. Duration 4 minutes. Theodore Presser Company #144-40729. Published by Theodore Presser Company (PR.144407290). ISBN 9781491135150. UPC: 680160687008. Jazz luminary Ali Ryerson traces a unique and personal artistic path in this solo work. With an engaging form reminiscent of jazz charts (a dreamy introduction, a catchy, swinging head, and improvisatory-feeling 12-bar choruses), Ryerson’s music pays deeply-felt homage to Charlie Parker and other jazz greats, while maintaining an organic connection to the lineage of unaccompanied woodwind music in the classical tradition. Classical players will gain insight into jazz harmony, rhythm, and expression as they learn this knockout recital piece, while Ryerson fans in the jazz world gain an image of her musical mind in this fully-notated composition. Jazz Dream, a jazz-inspired solo flute piece, was commissioned by Claudia Anderson for her Glass Ceilings project. Claudia once told me that playing jazz flute has been one of her musical ambitions. I daresay her performance of JD could very well break a glass ceiling of her own!Moved by the events of 2020, composing Jazz Dream became my way of honoring my musical heroes from the Black community, namely the jazz musicians who created this music and truly broke glass ceilings. As jazz shares its origins with the blues, both genres having originated in the African-American community, I decided on a 12-bar blues form as the framework for the piece.The opening theme gently draws us into a dream-like state, with a melody in slow motion and lines that linger. When the REM cycle kicks into gear, there’s an abrupt rhythmic shift that leads straight into a swingin’ blues. Idiomatic jazz rhythms abound, with blue notes galore – the tension notes that virtually define the sound of both the blues and jazz (i.e. the flatted third, fifth, and seventh notes of a scale in place of the expected major intervals).After several groovin’ choruses of a 12-bar blues in B(, often played as if the soloist is improvising, the blues modulates to the key of E(, and as a tribute to the great Charlie Parker (AKA Bird), I harmonically suggest the more complex set of bebop changes that Parker introduced in his composition, Blues for Alice. Often referred to as Bird Changes or Bird Blues, instead of the basic I - IV – V chord progression commonly used in the blues, Parker used a series of sequential ii-V progressions (and secondary ii-V progressions). With the addition of some tritone substitutions, a chromatically descending bass line deftly replaces the original I-IV-V root movement. This is the harmonic background I was hearing as I wrote this particular chorus.After my 12-bar nod to Bird’s changes, the introductory dream theme returns, now in tempo and with a straight-ahead swing feel. Variations on this theme follow, again to be played as if improvising, with the soloist once again bringing their own personality into the performance. This section builds to a climax, the music pauses, then modulates to C, with a return to the original blues theme. The energy and groove increase through the final flourish, where a blues line ends on the idiomatic flatted fifth. $9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Spring in Dresden [Score] 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.11641963S Composed by Chen Yi. Full score. 58 pages. Duration 20 minutes. Theodore Presser Company #116-41963S. Published by Theodore Presser Company (PR.11641963S). UPC: 680160684472. 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. $35.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 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 | | |
| Behold a Ladder Set Up On the Earth Concert band - Intermediate Eighth Note Publications
Concert Band - Grade 3.5 SKU: AP.81-CB224483 Composed by Frank McKinney. ...(+)
Concert Band - Grade 3.5 SKU: AP.81-CB224483 Composed by Frank McKinney. Concert Band. Folk; Spiritual. Score and Part(s). Duration 3:50. Eighth Note Publications #81-CB224483. Published by Eighth Note Publications (AP.81-CB224483). ISBN 9781778930492. UPC: 685462030507. English. Behold a Ladder Set Up on the Earth by Frank McKinney is a composition that touches upon both the thoughtful meditation and the emotional response to the lyrics of the African American slave spiritual We Are Climbing Jacob's Ladder. There are abundant opportunities for both sensitive and robust musical moments. A variation of the well-known theme is stated in the opening Adagio trumpet solo and then repeated several times throughout the piece. A more upbeat Allegro variation then enters before the familiar tune is finally introduced calmly by the bassoon. The climactic Religioso section presents the main theme in all of its call and response glory. (3:50). $80.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Angel Island Passages Theodore Presser Co.
Choral Soprano I, Soprano II, Alto I, Alto II SKU: PR.312418590 For Ch...(+)
Choral Soprano I, Soprano II, Alto I, Alto II SKU: PR.312418590 For Children's Choir and String Quartet. Composed by Chen Yi. Self Cover. Premiered by the SFGC and Cypress String Quartet, San Francisco Conservatory, CA. Secular choral. Vocal Score. With Standard notation. Composed 2010. 16 pages. Duration 15 minutes. Theodore Presser Company #312-41859. Published by Theodore Presser Company (PR.312418590). UPC: 680160595785. 8.5 x 11 inches. Text by Chen Yi. Often called the Ellis Island of the West, Angel Island in San Francisco was used as an immigration station in the first half of the 20th century, processing some one million Asian immigrants. Because of U.S. policy of the time, many spent years on Angel Island awaiting entry. Recently named a National Historical Landmark, Angel Island and its history is the inspiration behind Chen Yi's Angel Island Passages, commissioned by the San Francisco Girls Chorus. Chen explores the experiences of the immigrants, even using poems carved in the walls, to express the mood, the patient yearning, and the ultimate release and embrace of a new country. Angel Island Passages was premiered June 4-5, 2010 by the SFGC and the Cypress String Quartet at the San Francisco Conservatory. For advanced performers. Duration: 15'. Commissioned by San Francisco Girls Chorus (Executive Director Melanie Smith), and premiered by the SFGC and Cypress String Quartet on June 4, 2010, conducted by SFGC’s Artistic Director Susan McMane, at San Francisco Conservatory, CA, the 3-movement song cycle Angel Island Passages is written for children’s chorus and string quartet, with multimedia projection on the walls of the concert hall, produced by visual artist Felicia Lowe. The creative idea of this work was initiated by Dr. McMane, who invited me to write the music, and sent me the book “Island, poetry and history of Chinese Immigrants on Angel Island, 1910-1940â€, by Him Mark Lai, Genny Lim, and Judy Yung for reference in 2009; also inspired by the Angel Island stories, and through cooperation with Felicia, who shared with me her film “Carved in Silence†and video productions “Chinatown†and “Road to Restorationâ€.I named the first movement of my work as “1882â€, which reflected the dark mood under the Chinese Exclusion Act of 1882. The collective poems carved on the wooden walls in Angel Island expressed deep emotion in sorrow and anxiety. The music in the second movement “Longing†is sad and sentimental. The third movement is called “We Are Americaâ€, which is ever-moving, energetic and optimistic. The text sung in the beginning in Chinese means “I am an Americanâ€. It’s sung in Cantonese dialect, then in Mandarin. As the music develops, from homophonic to polyphonic with increasing layers, the climax is reached when the text is turned to English “We Are Americaâ€, which symbolizes the flourishing society with the great contribution from thousands of immigrants during the years. The music fades out towards the ending of the work, which pushes the scene to a remote picture, to look forward to the future peace of the world.I am grateful to have the opportunity to work with such inspiring creative artists in this project, and hope the work is meaningful to our new society after the premiere performance.—Chen Yi. $8.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Angel Island Passages [Score and Parts] Theodore Presser Co.
Choral Cello, Viola, Violin 1, Violin 2, alto 1, alto 2, soprano 1, soprano 2 (+)
Choral Cello, Viola, Violin 1, Violin 2, alto 1, alto 2, soprano 1, soprano 2 SKU: PR.31241859M For Children's Choir and String Quartet. Composed by Chen Yi. Folio. Premiered by the SFGC and Cypress String Quartet, San Francisco Conservatory, CA. Secular choral. Score and parts. With Standard notation. Composed 2010. 36 pages. Duration 15 minutes. Theodore Presser Company #312-41859M. Published by Theodore Presser Company (PR.31241859M). UPC: 680160595792. 8.5 x 11 inches. Text by Chen Yi. Often called the Ellis Island of the West, Angel Island in San Francisco was used as an immigration station in the first half of the 20th century, processing some one million Asian immigrants. Because of U.S. policy of the time, many spent years on Angel Island awaiting entry. Recently named a National Historical Landmark, Angel Island and its history is the inspiration behind Chen Yi's Angel Island Passages, commissioned by the San Francisco Girls Chorus. Chen explores the experiences of the immigrants, even using poems carved in the walls, to express the mood, the patient yearning, and the ultimate release and embrace of a new country. Angel Island Passages was premiered June 4-5, 2010 by the SFGC and the Cypress String Quartet at the San Francisco Conservatory. For advanced performers. Duration: 15'. Commissioned by San Francisco Girls Chorus (Executive Director Melanie Smith), and premiered by the SFGC and Cypress String Quartet on June 4, 2010, conducted by SFGC’s Artistic Director Susan McMane, at San Francisco Conservatory, CA, the 3-movement song cycle Angel Island Passages is written for children’s chorus and string quartet, with multimedia projection on the walls of the concert hall, produced by visual artist Felicia Lowe.xa0 The creative idea of this work was initiated by Dr. McMane, who invited me to write the music, and sent me the book “Island, poetry and history of Chinese Immigrants on Angel Island, 1910-1940”, by Him Mark Lai, Genny Lim, and Judy Yung for reference in 2009; also inspired by the Angel Island stories, and through cooperation with Felicia, who shared with me her film “Carved in Silence” and video productions “Chinatown” and “Road to Restoration”.I named the first movement of my work as “1882”, which reflected the dark mood under the Chinese Exclusion Act of 1882.xa0 The collective poems carved on the wooden walls in Angel Island expressed deep emotion in sorrow and anxiety.xa0 The music in the second movement “Longing” is sad and sentimental.xa0 The third movement is called “We Are America”, which is ever-moving, energetic and optimistic.xa0 The text sung in the beginning in Chinese means “I am an American”.xa0 It’s sung in Cantonese dialect, then in Mandarin.xa0 As the music develops, from homophonic to polyphonic with increasing layers, the climax is reached when the text is turned to English “We Are America”, which symbolizes the flourishing society with the great contribution from thousands of immigrants during the years.xa0 The music fades out towards the ending of the work, which pushes the scene to a remote picture, to look forward to the future peace of the world.I am grateful to have the opportunity to work with such inspiring creative artists in this project, and hope the work is meaningful to our new society after the premiere performance.—Chen Yi. $38.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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