Orchestra SKU: SU.32040140 For Orchestra. Composed by Amy Riebs Mi...(+)
Orchestra
SKU:
SU.32040140
For
Orchestra. Composed
by Amy Riebs Mills.
Orchestra. Full Score.
Subito Music Corporation
#32040140. Published by
Subito Music Corporation
(SU.32040140).
2222; 4331;
timp, 2 perc, pno; stgs
Duration: 13'30 Composed:
2016 Published by: Amy
Mills Music, LLC Like a
modern Pictures at an
Exhibition…. Ha
Shamayim is an original
piece for orchestra that
was inspired by
photographs taken by the
Hubble space telescope.
Each section is inspired
by one photo; the title
of each section is the
title that NASA gave to
the photograph. The words
Ha Shamayim are Hebrew
for The Heavens. They are
written in Genesis 1:1,
In the beginning God
created the heavens and
the earth. The words are
also seen in Psalm 19.
Section I: Warped Edge-On
Galaxy ESO 510-G13
The piece begins in outer
space with its glistening
stars. Glissandi are used
to depict the strange but
beautiful warp seen in
the photograph. Section
II: Galaxy Fires at
Neighboring Galaxy
Suddenly the piece erupts
as one galaxy fires blue
gas at its neighbor. They
engage in a cosmic
battle. Section III:
Youthful-looking Galaxy
May Be an Adult The
adolescent galaxy is
personified by a
humorous, gawky melody
reminiscent of teenage
boys who walk on feet
that are still too big.
Occasionally there is an
argument with an
authority figure, but the
joy of exploring the
universe quickly returns.
Section IV: Star Birth in
Galaxy M83 The
dramatic photograph looks
like a womb with veins.
The music begins on one
note, then it begins to
explore the initial
swelling and stretching.
It morphs into an
energetic fast theme,
still growing. Ultimately
it becomes glorious and
expansive, like the new
star. Section V: String
of ‘Cosmic
Pearls’ Surrounds
an Exploding Star The
first theme is a happy
circle dance inspired by
the circle of white dots
in the photograph. The
second theme is noble and
joyful. It is reminiscent
of the melody in the
famous chorus in
Haydn’s The
Creation with the words
from Psalm 19, The
heavens are telling the
glory of God. The music
then has flashbacks to
the earlier sections, and
ends in triumph. The five
sections in Ha Shamayim
are continuous with no
breaks. Difficulty Level:
5 (Advanced/Professional)
See composer website for
audio sample. Performance
materials available on
rental only:.
S'vivon. Arranged
by Brendan Mcbrien.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Chanukah;
Jewish Heritage;
Multicultural;
Traditional; Winter.
Score. 12 pages. Duration
2:50. Highland/Etling
#00-44852S. Published by
Highland/Etling
(AP.44852S).
UPC:
038081518572. English.
Traditional
Hanukkah.
S'vivon
(se-vi-vohn) is the
Hebrew word for dreidl, a
four-sided top that is
popular with children
during the celebration of
the Jewish holiday
Hanukkah, the Festival of
Lights. In this
arrangement by Brendan
McBrien, variations are
created through the
subtle use of motivic
rhythms from within the
melody, presenting the
theme in different voices
and keys in both arco and
pizzicato, using the A
section of the tune as an
accompaniment for the B
section, and, finally,
changing the modality to
major, which creates (for
a short time) a very
different feeling from
the traditional minor
setting. (2:50).
S'vivon. Arranged
by Brendan Mcbrien.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Chanukah;
Jewish Heritage;
Multicultural;
Traditional; Winter.
Score and Part(s). 124
pages. Duration 2:50.
Highland/Etling
#00-44852. Published by
Highland/Etling
(AP.44852).
UPC:
038081518565. English.
Traditional
Hanukkah.
S'vivon
(se-vi-vohn) is the
Hebrew word for dreidl, a
four-sided top that is
popular with children
during the celebration of
the Jewish holiday
Hanukkah, the Festival of
Lights. In this
arrangement by Brendan
McBrien, variations are
created through the
subtle use of motivic
rhythms from within the
melody, presenting the
theme in different voices
and keys in both arco and
pizzicato, using the A
section of the tune as an
accompaniment for the B
section, and, finally,
changing the modality to
major, which creates (for
a short time) a very
different feeling from
the traditional minor
setting. (2:50).