| Acadia Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500103F Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F). ISBN 9781491131763. UPC: 680160680290. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $39.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Great Smoky Mountains Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500102F Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F). ISBN 9781491131749. UPC: 680160680276. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Everglades (River of Grass) Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500101F Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F). ISBN 9781491131725. UPC: 680160680252. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphony No. 6 Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU: PR.16500104F Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F). ISBN 9781491132159. UPC: 680160681082. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| This present moment used to be the unimaginable future... Breitkopf & Härtel
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music...(+)
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music (post-2000); Music post-1945. Set of parts. Composed 2019. Duration 20'. Breitkopf and Haertel #EB 9387. Published by Breitkopf and Haertel (BR.EB-9387). ISBN 9790004188576. 0 x 0 inches. Commissioned by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)
World premiere: Paris, Cite de la musique, January 14, 2020. $53.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| This present moment used to be the unimaginable future... String Quartet: 2 violins, viola, cello Breitkopf & Härtel
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian Mason.
World premiere: Paris, Cite
de la musique, January 14,
2020. Breitkopf and Haertel
#EB 9377. Published by
Breitkopf and Haertel
$46.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Capriccio on the Departure of His Dearly Beloved Brother Piano solo Kalmus
Composed by Johann Sebastian Bach (1685-1750). For Piano. Masterworks; Piano Sol...(+)
Composed by Johann Sebastian Bach (1685-1750). For Piano. Masterworks; Piano Solo; Solo. Kalmus Edition. Baroque; Masterwork. 8 pages. Published by Kalmus Classic Edition
$5.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Capriccio BWV 992 "On the Departure of a Beloved Brother" for 4-part Trombone ensemble Brass Quartet: 4 trombones - Advanced Cherry Classics
Trombone ensemble 4-part - advanced SKU: CY.CC2920 Composed by Johann Seb...(+)
Trombone ensemble 4-part - advanced SKU: CY.CC2920 Composed by Johann Sebastian Bach. Arranged by John Marcellus. Baroque. Score and parts. Published by Cherry Classics (CY.CC2920). Capriccio in B-flat, BWV 992 is an early keyboard work, first performed at age 19 when his brother Johann Jacob travelled to become an oboist in the army of Charles XII of Sweden. The 12-minute work for 4-part Trombone ensemble is appropriate for advanced performers. Dr. Marcellus has dedicated his arrangement to the memory of the late Steve Witser, his former student and colleague who was Principal Trombonist with the Los Angeles Philharmonic. The work is separated into six sections titled: 1. Arioso: Adagio - His friends try to persuade him not to undertake the journey 2. Andante - His friends tell him of the various misfortunes that may befall him abroad 3. Adagiosissimo - The general lament of his friends 4. Andante con moto - His friends come, since they see that it must be, and take leave of him 5. Posthorn Aria 6. Fugue in Imitation of the Posthorn. $27.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Lokuttara Theodore Presser Co.
SKU: PR.415411580 For Wind Ensemble. Composed by Narong Prangcharo...(+)
SKU: PR.415411580 For Wind Ensemble. Composed by Narong Prangcharoen. Full score. 42 pages. Duration 14 minutes. Theodore Presser Company #415-41158. Published by Theodore Presser Company (PR.415411580). UPC: 680160666133. Lokuttara means Ultramundane. It is the power that enables the mind to transcend beyond the world, or beyond the limits of our system. This piece is mainly focusing on the texture and timbre inspired by chanting or praying. For example, the texture of this piece is imitating the rhythm of speech or the singing of words or sounds, called reciting tones, as in a chant or a prayer. The timbre enlightens the listener to the sound and atmosphere beyond the material world, echoing the transcendence of Tibetan monk chants. The direction of the lines are mainly focused on the departure from a low register to a high register as if the mind transcends from the fiscal world to the the world beyond our system. The thematic and harmonic material are controlled by the set of pitches which function as the main material for the entire piece. Lokuttara consists of three main sections divided fast--slow--fast. Although the material is from the same pitch collection, the music in each section transforms into many different forms. Lokuttara is graciously commissioned by the Barlow Endowment for Music Composition at Brigham Young University for the United States Marine Band, Brigham Young University's Wind Symphony and Florida State University's Wind Orchestra as the Endowment's performing consortium who will premiere the work in 2015. $34.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Lokuttara Theodore Presser Co.
SKU: PR.41541158L For Wind Ensemble. Composed by Narong Prangcharo...(+)
SKU: PR.41541158L For Wind Ensemble. Composed by Narong Prangcharoen. Large Score. 42 pages. Duration 14 minutes. Theodore Presser Company #415-41158L. Published by Theodore Presser Company (PR.41541158L). UPC: 680160666140. Lokuttara means Ultramundane. It is the power that enables the mind to transcend beyond the world, or beyond the limits of our system. This piece is mainly focusing on the texture and timbre inspired by chanting or praying. For example, the texture of this piece is imitating the rhythm of speech or the singing of words or sounds, called reciting tones, as in a chant or a prayer. The timbre enlightens the listener to the sound and atmosphere beyond the material world, echoing the transcendence of Tibetan monk chants. The direction of the lines are mainly focused on the departure from a low register to a high register as if the mind transcends from the fiscal world to the the world beyond our system. The thematic and harmonic material are controlled by the set of pitches which function as the main material for the entire piece. Lokuttara consists of three main sections divided fast--slow--fast. Although the material is from the same pitch collection, the music in each section transforms into many different forms. Lokuttara is graciously commissioned by the Barlow Endowment for Music Composition at Brigham Young University for the United States Marine Band, Brigham Young University's Wind Symphony and Florida State University's Wind Orchestra as the Endowment's performing consortium who will premiere the work in 2015. $65.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The New Gurlitt - Volume 2 Piano solo - Beginner Schott
Piano - very easy to intermediate SKU: HL.49003444 Piano Solo. Com...(+)
Piano - very easy to intermediate SKU: HL.49003444 Piano Solo. Composed by Cornelius Gurlitt. Edited by Willy Rehberg. Arranged by Willy Rehberg. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 37 pages. Schott Music #ED1584. Published by Schott Music (HL.49003444). ISBN 9790001033862. UPC: 073999347135. 9.0x12.0x0.132 inches. $18.99 - See more - Buy online | | |
| Fr. Michael McGivney: The Musical Choral Unison Unison, Piano CanticaNOVA Publications
Composed by Wendy Hodge. Text: Laura Galvin. A little musical play honoring the ...(+)
Composed by Wendy Hodge. Text: Laura Galvin. A little musical play honoring the Knights of Columbus founder. Musical play. Published by CanticaNOVA Publications (C5.8800).
$20.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Wondrous Cross Choral SATB SATB, Piano [Vocal Score] Oxford University Press
(A meditation based on the traditional Seven Last Words of Christ). By Alan Bull...(+)
(A meditation based on the traditional Seven Last Words of Christ). By Alan Bullard (1947-). For SATB choir and organ/piano, with opt. soloists, congregation, and strings. Mixed Voices. Contemporary, Choral Works. Vocal score. 40 pages. Duration 28'. Published by Oxford University Press
$16.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Song Of Departure Violin Chester
String Parts (Strings) SKU: HL.14063989 For Violin, Viola, Cello, Bass...(+)
String Parts (Strings) SKU: HL.14063989 For Violin, Viola, Cello, Bass, and Piano String Parts. Composed by Judith Weir. Instrumental. General Merchandise. Duration 240 seconds. Chester Music #CH87494-01. Published by Chester Music (HL.14063989). UPC: 196288022190. 9.0x12.0x0.055 inches. Composed for the Schubert Ensemble's farewell tour and modelled on 'Abschied' from Schubert's Schwanengesang, this four-minute piece gives each player a brief solo before the work's close. A light-hearted piece that is ideal for the end of a concert programme or as an encore. $12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Piano Playbook Film Music Piano solo Music Sales | | |
| Johann Sebastian Bach : At The Piano With J. S. Bach Piano solo [Sheet music] - Intermediate/advanced Alfred Publishing
By Johann Sebastian Bach. Keyboard. Level: Intermediate/Early Advanced (4/5/6/6 ...(+)
By Johann Sebastian Bach. Keyboard. Level: Intermediate/Early Advanced (4/5/6/6 ). Published by Alfred Publishing.
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bent Lorentzen: Mars From 'The Planets' Organ - Intermediate/advanced Wilhelm Hansen
Organ - Grade 4 SKU: HL.14019450 Composed by Bent Lorentzen. Music Sales ...(+)
Organ - Grade 4 SKU: HL.14019450 Composed by Bent Lorentzen. Music Sales America. Classical. Book [Softcover]. Composed 2002. 20 pages. Edition Wilhelm Hansen #WH30404. Published by Edition Wilhelm Hansen (HL.14019450). ISBN 9788759867570. English. The Planets is cast as a single unit, consisting of seven movements, varying greatly in character, each of which describes a planet or a celestial body. Mars makes a war-like contrast with aggressive rhythms and contrasting registers. This part is poly-rhythmic and very complex. Thus there is extensive use of the proportions 5:2, 5:3, 5:4, 5:7 and 5:9 which are the point of departure of all the rhythm series. $27.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Studio Ghibli 77 Selections [Japanese/English/Chinese] Piano solo - Easy Yamaha
Piano - Easy to Intermediate Levels SKU: YM.GTP01101652 The Ultimate S...(+)
Piano - Easy to Intermediate Levels SKU: YM.GTP01101652 The Ultimate Studio Ghibli Piano Solo Collection. Composed by Joe Hisaishi. Studio Ghibli. Anime Song; J-Pop. Book. Yamaha Music Media #GTP01101652. Published by Yamaha Music Media (YM.GTP01101652). ISBN 9784636113334. 8.75 x 12 inches. Here is the ultimate, official, complete edition of Studio Ghibli Piano Solo Collection, featuring 77 of Studio Ghibli's essential musical masterpieces, fully supported in three languages: Japanese, English and Simplified Chinese! From 20 of Studio Ghibli's most beloved films, including My Neighbor Totoro, Princess Mononoke, Spirited Away, and more, comes a piano solo collection featuring 77 iconic songs. In addition to timeless favorites, songs from popular soundtracks such as Kiki's Delivery Service and Porco Rosso are included. Featuring Studio Ghibli's musical masterpieces in solo piano arrangements, this collection includes the film's theme songs as well as fan-favorite instrumental music. The difficulty levels range from easy to intermediate, making them accessible to a wide range of players, and the simpler arrangements can be fully enjoyed by players who can feel the essence and atmosphere. The book cover features official Studio Ghibli artwork. The book is supported in Japanese, English and Chinese. This single volume offers a comprehensive, special collector's edition for enjoying the music of Studio Ghibli. Studio Ghibli 77 Selections is sure to take you on a musical journey through 20 Studio Ghibli films! $26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Dancing Songs Choral 3-part SSA American Composers Forum
(Commissioned by the American Composers Forum). By Alice Parker. For Choral (SSA...(+)
(Commissioned by the American Composers Forum). By Alice Parker. For Choral (SSA). American Composers Forum Choral. 40 pages. Published by American Composers Forum
$2.95 $2.8025 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Golden Queen Choral SATB American Composers Forum
Commissioned by American Composers Forum. Composed by Rene Clausen. ChoralQues...(+)
Commissioned by American
Composers Forum. Composed by
Rene Clausen. ChoralQuest.
Chamber, Concert. Octavo. 12
pages. Published by American
Composers Forum
$1.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Les Adieux Sonata * Complete Original * with Performance CD Piano solo [Sheet music + CD] Santorella Publications
Les Adieux Sonata * Complete Original * with Performance CD composed by Ludwig v...(+)
Les Adieux Sonata * Complete Original * with Performance CD composed by Ludwig van Beethoven (1770-1827). For piano solo. This edition: Paperback. Solo. Classical. Book and CD. Text Language: English. 48 pages. Published by Santorella Publications
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| John Williams : The Book Thief Piano solo [Sheet music] Hal Leonard
(Music from the Motion Picture Soundtrack). By John Williams. For Piano/Keyboard...(+)
(Music from the Motion Picture Soundtrack). By John Williams. For Piano/Keyboard. Piano Solo Songbook. Softcover. 24 pages. Published by Hal Leonard
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Bells of Wyche Handbells Sacred Music Press
Handbells (3-5 octaves) - Level 2 SKU: LO.20-1040 For Handbells (3-5 O...(+)
Handbells (3-5 octaves) - Level 2 SKU: LO.20-1040 For Handbells (3-5 Octaves). Composed by Philip Young. Sacred. Handbell score. Sacred Music Press #20/1040. Published by Sacred Music Press (LO.20-1040). UPC: 000308022995. 3-5 octaves. General. Medium. Jubilant and tuneful, building into the cascading glory of festive bell peals. Ringers are kept busy throughout, creating lovely bell music - free of gimmicks and special effects. Here is idiomatic writing for handbells which offers a refreshing departure from the all-too-common overuse of clanging shakes and startling martellato. $5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| George Crumb: Black Angels - Thirteen Images from the Dark Land (Images I)
String Quartet: 2 violins, viola, cello [Score] Peters
(for Electric String Quartet) Composed by George Crumb (1929-). Full score for a...(+)
(for Electric String Quartet) Composed by George Crumb (1929-). Full score for amplified string quartet. Facsimile printing from the manuscript by the composer. With full score notation and performance notes. 9 pages. Published by C.F. Peters.
(1)$75.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three Fantasies Piano solo Theodore Presser Co.
Chamber Music Piano SKU: PR.110418380 Composed by Carlos Gardels. Full sc...(+)
Chamber Music Piano SKU: PR.110418380 Composed by Carlos Gardels. Full score. 12 pages. Duration 8 minutes, 40 seconds. Theodore Presser Company #110-41838. Published by Theodore Presser Company (PR.110418380). ISBN 9781491135334. UPC: 680160687497. THREE FANTASIES is a fantastical escape from reality. The first fantasy (“Preludeâ€) features a luscious and expressive melody accompanied by dark, romantic harmonies. The following fantasy (“Cosmic Lullabyâ€) begins and ends in a serene and introspective manner, with a tumultuous and harmonically rich middle section. To end the set, “Intermezzo†provides reflection and a lively resolution. Gardels’ profound lyricism and masterful piano writing make this set enjoyable for any pianist to perform at home or in the concert hall. The three fantasies here were written during the height of the 2020-21 Coronavirus lockdowns – a time everyone will forever recall as a period of the world standing still and experiencing new degrees of isolation, inactivity, and apprehension.A fantasy is a genre to which a composer can turn as a respite from the constraints of form, tradition, and expectation. What the genre may lack in structure and design it makes up for with spontaneity, capriciousness, and improvisatory musical gesture.I hope performers feel free to take a similarly “fantastical†approach to the interpretation of these works, seeing the score and notation as a point of departure rather than arrival, and proceed with unabashed freedom of spirit in their playing. $12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
Next page 1 31 61 ... 241 |