Concert band - Grade 4

SKU: CL.012-4180-75

Composed by Romeyn. Concert Band. Concert Band Series. Audio recording available separately (items CL.WFR378 & CL.WFR387). Oversized, spiral-bound score. Composed 2013. Duration 8 minutes, 20 seconds. Opus III Wind Orchestra Publications #012-4180-75. Published by Opus III Wind Orchestra Publications (CL.012-4180-75).

This monumental programmatic work from the pen of Rob Romeyn captures the myth and legend of Zeus, the mythical master of the gods and men. A sky god, he controls lightning, which he uses as a weapon, and thunder. It opens as Zeus becomes involved in the Trojan war, hurling lightning bolts at his opponents. The tension soon subsides as we are introduced to the eternally beautiful Hera, whom Zeus would eventually marry. The music then ensues as our story unfolds, as Zeus made his domain the mountaintops and clouds where he could survey all creation, and inflict pain and justice on all evildoers. Tension builds as Zeus battles Typhon in hand to hand combat, ending ultimately with Zeus throwing the enormous Mt. Etna at the monster, pinning him underneath. From here, the tension subsides, and a beautiful lyrical section builds to an ending of incredible power and grandeur as Zeus again reaffirms his stature as the ruler of Mt. Olympus. This exceptional work is a wonderful addition to any concert or festival performance!

By Rick Gratton with Carmine Appice. For Drum Set. Percussion - Drum Set Method or Collection. Ultimate Play-Along. Play along. Book and 2 CDs. 76 pages. Published by Alfred Publishing.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS209F

Composed by Lauren Taylor. Carl Fischer Young String Orchestra Series. Full score. 8 pages. Carl Fischer Music #YAS209F. Published by Carl Fischer Music (CF.YAS209F).

ISBN 9781491160695. UPC: 680160919291.

In classic Greek mythology, Aquila (Latin for eagle) was a powerful bird that carried the thunderbolts of Zeus, the god of war. This majestic name was also given to a northern constellation that extends across the celestial equator. The lofty flight of the stately eagle is heard in this original work for developing string orchestra. Set in B minor, the theme is stated and developed first in violins accompanied by a staccato ostinato. Rhythmic phrases alternate with lyrical slurred patterns that rise and fall like the soaring eagle. Students will encounter easy dotted quarter rhythms, two-note slurs, and a variety of dynamics in this excellent concert selection.
In classic Greek mythology, Aquila (Latin for “eagle”) was a powerful bird that carried the thunderbolts of Zeus, the god of war. This majestic name was also given to a northern constellation that extends across the celestial equator. The lofty flight of the stately eagle is heard in this original work for developing string orchestra. Set in B minor, the theme is stated and developed first in violins accompanied by a staccato ostinato. Rhythmic phrases alternate with lyrical slurred patterns that rise and fall like the soaring eagle. Students will encounter easy dotted quarter rhythms, two-note slurs, and a variety of dynamics in this excellent concert selection.

Orchestra Cello, Contrabass, Timpani, Viola, Violin 1, Violin 2 - Grade 3

SKU: CF.CAS126

Composed by Todd Parrish. Folio. Cas. Set of Score and Parts. 32+20+20+20+32+3+28 pages. Duration 8:12. Carl Fischer Music #CAS126. Published by Carl Fischer Music (CF.CAS126).

ISBN 9781491157626. UPC: 680160916207. 9 x 12 inches.

Ancient Wonders Suite is a musical description of four of the wonders from the ancient world. Movement one describes the awe-inspiring grandeur of the Temple of Artemis located in Ephesus (present-day Turkey). Movement two depicts the majesty of the Great Lighthouse at Alexandria, Egypt. Movement three portrays the mystery and amazing craftsmanship used to build the Great Pyramid at Giza. Movement four represents the overwhelming feeling one might have felt gazing at the Statue of Zeus at Olympia, Greece.  Movements may be played in any order or as stand-alone works.
Ancient Wonders Suite is a musical description of four of the wonders from the ancient world. Movement one describes the awe-inspiring grandeur and size of the Temple of Artemis located in Ephesus (now present day Turkey). Movement two depicts the majesty of the Great Lighthouse at Alexandria, Egypt, which lasted into the 14th century. Movement three portrays the mystery and amazing craftsmanship used to build the Great Pyramid at Giza, the only ancient wonder still standing today. Movement four represents the overwhelming feeling one might have felt gazing at the Statue of Zeus at Olympia, Greece. It concludes with a majestic feeling of victory, celebrating the Olympic spirit.Though written through contemporary means, this programmatic work seeks to remember the great architectural achievements of past generations. As a former director with the Bay Youth Orchestras of Virginia, it was truly an honor to write this piece commemorating the years of dedication and inspiration from my former colleague, Christina Morton.Movements were written with the traditional symphonic order in mind, but they may be played in any order or as stand-alone works. The timpani part is optional, but very highly recommended as it significantly adds to the majestic nature of these works.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5

SKU: CF.YPS217F

Composed by Zachary Cairns. Sws. Yps. Full score. 24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217F. Published by Carl Fischer Music (CF.YPS217F).

ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5

SKU: CF.YPS217

Composed by Zachary Cairns. Folio. Yps. Set of Score and Parts. 8+8+4+8+8+4+2+6+4+4+4+8+8+8+8+6+6+6+4+6+4+2+2+4+6+10+24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217. Published by Carl Fischer Music (CF.YPS217).

ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

Concert band - Grade 3

SKU: CL.012-4542-00

Composed by Romeyn. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR392). Score and set of parts. Composed 2017. Duration 4 minutes, 59 seconds. Opus III Wind Orchestra Publications #012-4542-00. Published by Opus III Wind Orchestra Publications (CL.012-4542-00).

In Greek mythology, Zeus gave Pandora a box, but warned her never to open it. But the urge to open it overcame her. All of life’s miseries came out of the box, let free into the world. The final thing remaining in the box was hope, and a new beginning. This powerful and poignant work depicts Pandora’s myth. A bold and forceful opening statement gives way to a beautiful and haunting melody. Lush and mournfully dissonant harmonies gradually build to a climax of incredible emotion and power. As the music ends, we are reminded of a new hope and a new beginning, creating a sensitive and memorable moment. A meaningful and significant addition to the concert band repertoire; destined to be a classic.

By Ludwig van Beethoven (1770-1827). Arranged by Rick England. Orchestra. Masterworks; Score; String Orchestra. Highland String Orchestra. Form: Transcription. Classical; Masterwork Arrangement; Romantic. Grade 2.5. 12 pages. Published by Alfred Music Publishing

Concert band - Grade 3

SKU: CL.012-4542-75

Composed by Romeyn. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR392). Oversized, spiral-bound score. Composed 2017. Duration 4 minutes, 59 seconds. Opus III Wind Orchestra Publications #012-4542-75. Published by Opus III Wind Orchestra Publications (CL.012-4542-75).

In Greek mythology, Zeus gave Pandora a box, but warned her never to open it. But the urge to open it overcame her. All of life's miseries came out of the box, let free into the world. The final thing remaining in the box was hope, and a new beginning. This powerful and poignant work depicts Pandora's myth. A bold and forceful opening statement gives way to a beautiful and haunting melody. Lush and mournfully dissonant harmonies gradually build to a climax of incredible emotion and power. As the music ends, we are reminded of a new hope and a new beginning, creating a sensitive and memorable moment. A meaningful and significant addition to the concert band repertoire; destined to be a classic.

By Ludwig van Beethoven (1770-1827). Arranged by Rick England. Orchestra. For string. Masterworks; Part(s); Score; String Orchestra. Highland String Orchestra. Form: Transcription. Classical; Masterwork Arrangement; Romantic. Grade 2.5. 124 pages. Published by Alfred Music Publishing

Tuba and wind ensemble

SKU: P2.W0019

Composed by Charles Booker. Published by Potenza Music (P2.W0019).

The inspiration for the concerto comes from Greek mythology and in particular Atlas, who after being defeated by the Olympians, was forced by Zeus to hold up the celestial spheres for eternity. The first movement, titled The Immortal, is a description of Atlas, stout hearted, primordial, large, un-fearing, and of course, immortal. The second movement is about his daughter, Aegle and her mourning for the murder of her pet three-headed dragon by Hercules in the Garden of Stone. The final movement, The War, is the battle of the gods between the Titans and the Olympians.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1125086-010

Composed by Satoshi Yagisawa. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2012. De Haske Publications #DHP 1125086-010. Published by De Haske Publications (BT.DHP-1125086-010).

12 X 9 inches. English-German-French-Dutch.

Pandora appears in Greek mythology the first woman, created by the gods and sent to earth as an evil addition to the human race. ‘Pan’ means ‘all’ and ‘dora’ means ‘gifted’. Pandora’s Box must by no means be opened. The various stories surrounding this box inspired Yagisawa to write this dramatic piece, an addition to his series of pieces based on Greek mythology, such as Perseus.

Pandora is een figuur uit de Griekse mythologie. Het is de eerste vrouw die de goden naar de aarde zonden. Ze kreeg een doos mee. Oppergod Zeus had de sleutel erbij gegeven en tegen Pandora gezegd dat ze de doos nooit moest openen als ze gelukkig wilde leven. Toch won de nieuwsgierigheid het en Pandora opende de doos. In een klap kwamen daar alle tegenslagen en onheil uit die een mens maar kunnen treffen. De verschillende verhalen rond deze doos inspireerden Yagisawa tot het schrijven van dit dramatische stuk. Het is een aanvulling op zijn reeks werken waarbij hij zich eveneens baseerde op de Griekse mythologie, zoals Perseus.

Pandora erscheint in der griechischen Mythologie als erste Frau, die von den Göttern erschaffen und als böse Ergänzung der Menschheit auf die Erde geschickt wurde. Pan“ bedeutet all-, gesamt“ und dora“ steht für begabt“. Die Büchse der Pandora sollte auf gar keinen Fall geöffnet werden. Die verschiedenen Geschichten um diese Büchse lieferten Yagisawa die Inspiration für das dramatische Stück als Ergänzung seiner Serie an Werken, die auf der griechischen Mythologie basieren, wie zum Beispiel Perseus.

Pandore figure dans la mythologie grecque la première femme, créée par les dieux et envoyée sur terre en tant que complément maléfique la race humaine. « Pan » signifie « tout » et « dora » veut dire « doué ». La boîte de Pandore ne doit absolument pas être ouverte ! Les histoires racontées au sujet de cette boîte ont inspiré Satoshi Yagisawa écrire cette oeuvre dramatique, un ajout sa série d’oeuvres basées sur la mythologie grecque.

Pandora compare nella mitologia greca, la prima donna creata dagli dei, mandata sulla terra e causa dei mali futuri del genere umano. ‘Pan’ significa ‘tutto’ e ‘dora’ significa ‘dono’. Il vaso di Pandora non deve essere assolutamente aperto. Le varie storie che circondano il vaso hanno ispirato Yagisawa nella scrittura di un pezzo drammatico, che si aggiunge alla sua serie di pezzi basati sulla mitologia greca come Perseus.

Baritone; Euphonium; Piano Accompaniment (Score and Solo Part)

SKU: HL.44011100

For Euphonium or Baritone & Piano. Composed by Kevin Houben. Scherzando Play-Along Book. Classical. Softcover. 16 pages. Scherzando #185011401S. Published by Scherzando (HL.44011100).

UPC: 884088654634. 9.0x12.0 inches.

When Tantalus, a figure from Greek mythology, invited the gods to a banquet, he served them his son Pelops, whom he had cut into pieces. He did so to test whether his guests were omniscient. As a punishment, Zeus sent Tantalus to Tartarus, the deepest part of the underworld, to suffer everlasting torture. The term 'torment of Tantalus' refers to this predicament, representing things much desired but that are out of reach. Kevin Houben used the story of Tantalus as inspiration for this composition.