(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

Chamber Music Flute, Harp, Viola

SKU: PR.114423470

Composed by Shulamit Ran. Set of Score and Parts. 24+12+12+16 pages. Duration 13 minutes. Theodore Presser Company #114-42347. Published by Theodore Presser Company (PR.114423470).

ISBN 9781491137314. UPC: 680160687473.

A commission from the Santa Fe Chamber Music Festival, for any combination of instruments of her choosing, quickly sparked Shulamit Ran to create a trio for Flute, Viola, and Harp. She writes of this instrumentation: “something about its color palette reminded me of the image I have of Santa Fe as a sun-drenched city of warm hues, a thriving arts scene, and a spirit of relaxed tolerance.” In this subtle, yet dramatic work, the instruments begin the journey with distinct, contrasting musical personalities, which gradually begin to coalesce, though not without surprise twists along the road.
Being commissioned by the Santa Fe Chamber Music Festival to create a new work for the major milestone of its 50th anniversary was both an honor and a special delight. My choice of the flute, viola, and harp combination for this composition was reached quickly and almost instinctively, motivated not only because I relished the thought of composing for an instrumental ensemble I had not previously written for, but also because something about its color palette reminded me of the image I have of Santa Fe as a sun-drenched city of warm hues, a thriving arts scene, and a spirit of relaxed tolerance.In All Roads Leading I treat the instruments intermittently as three distinct characters who have their own individual “voices” and musical materials, while at other times they coalesce into a single, more unified entity. In the sections expressive of the instruments’ individual “souls”—as I like to call them—the music ranges from the songful, to the impassioned, but also the volatile. In contrast, where all three instruments act as a single entity, the music tends to be highly rhythmic, sometimes dance-like, even angular, and spiky.As the work progresses, the boundaries between these contrasting approaches become deliberately blurrier and more intertwined, perhaps reminding one of a tale with various twists and turns in the plot. And although eschewing a formal recapitulation, various motivic threads as well as emotive “states” are eventually brought full circle, as if to fulfill an intended role that crystallizes only as All Roads Leading plays out its full journey. Simultaneously with the general unwinding and relaxation that is reached nearthe end, a mutation of an earlier more threatening element appears at the very closing of the work, perhaps a reminder that the unknown always lies ahead.

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Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello

SKU: PR.11441690S

String Quartet No. 3. Composed by Shulamit Ran. Sws. Contemporary. Full score. With Standard notation. Composed March 9 2013. 32 pages. Duration 23 minutes. Theodore Presser Company #114-41690S. Published by Theodore Presser Company (PR.11441690S).

UPC: 680160626021. 9 x 12 inches.

Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.
My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago.  Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination.  Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars.  It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920s”, first shown at New York’s Metropolitan Museum of Art in 2006-07.  Nussbaum would have been a bit too young to be included in this exhibit.  His most noteworthy art was created in the last very few years of his short life.  The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory” as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure music”, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.    The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened” (das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary” life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace” is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) ”If I must perish - do not let my paintings die”; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory” is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes.  All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .

(E-Flat Instruments, Mini Edition). Composed by Various. For E-flat Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard

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