SKU: MH.1-59913-072-6

ISBN 9781599130729.

Program Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.

SKU: CF.CPS216F

ISBN 9781491153109. UPC: 680160910601.

Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections.  This fanfare composition would be perfect for opening a concert. It has bold brass fanfare figures over textural woodwinds to start and then takes the listener on a sonic journey through a variation of harmonic colors, tambural and textural shifts.
Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections. The first, a rather celebratory and triumphant fanfare in Bb major begins with the upper woodwinds and percussion creating a sound-screen, that is a busy texture consisting of a flurry of repeated notes over which the horns and alto saxophones present the opening theme. The sound-screen should be carefully balanced and give way to the melody at m. 5, which should be played extremely marcato. The timpani solo beginning in m. 11 must not be understated. A brief percussion interlude separates a restatement of the opening theme, this time with the addition of the trumpet, tenor saxophone, and euphonium, and a counter melody by the low winds. The percussion interlude is playful, light, but full of vigor and energy. An Ab in the low winds pulls the harmony towards G minor in m. 40 to start the second section, a more serious fanfare. Here, the marimba repeats an ostinato that is complemented by the bass drum and woodblock. The upper woodwinds with the xylophone and snare drum dance over the stern secondary fanfare. A longing call lead by the trombones, interrupted by a subtle snare drum beckons to the clarinets and horn who begin the third section of the piece at m. 68. This haunting melody in C minor is legato, and starkly contrasts all which came before it. A relentless concert tom-tom played with hard mallets keeps the momentum persistent, and a heartbeat-like pulse is felt from the tuba and baritone saxophone. The melody rises towards m. 84 when the brass harken back to the fanfare style before fading back into another lush woodwind strain.A recapitulation of the low winds’ call is heard at m. 100 which in this occasion intensifies into an emphatic statement by the battery percussion instruments. Now in Eb major, the opening fanfare theme is heard again once more before fading into the beginning of the piece’s conclusion.To end, the counter melody from the opening section duels with chromatic tension above before swelling to an arrival in the original key of Bb major. The full ensemble celebrates the piece’s resolution, and after a few crunchy power chords the journey is completed.

SKU: HP.C6141C

UPC: 763628961411. By Kirk Franklin.

Spiritual by Kirk Franklin The music of Kirk Franklin is synonymous with the heart of worship in the African-American Church, and Joel Raney has set this powerful resurrection song as authentically as possible, maintaining its soulful, gospel style. The buildup from beginning to end is sure to enrapture all in the message Don't cry, wipe your eyes, he is not dead! If you enjoyed Revelation 19 and Order My Steps, previously published in our catalog, then you won't want to miss this one. Orchestrations: Conductor's Score, Horn (or Alto Sax or Clarinet), 2 Trombone (or Tenor Sax or Baritone T. C. ), Percussion, Piano, Synth (Vintage Rhodes), Electric Guitar (or Capo Guitar), Electric Bass, Drums, Violins 1 & 2, Viola (or Clarinet), Cello/Bassoon (or Bass Clarinet). Double Bass and String Reduction.