String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle Subito Music
SKU: SU.29150031 Composed by Elliott Miles McKinley. Chamber Music, Strin...(+)
SKU: SU.29150031
Composed by Elliott Miles
McKinley. Chamber Music,
String
Trio/Quartet/Quintet.
String Quartet. Set of
Parts. Subito Music
Corporation #29150031.
Published by Subito Music
Corporation
(SU.29150031).
String Quartet
No. 8 was composed in the
summer of 2016 and
premered in April 2017 by
the Auriga String Quartet
at Indiana State
University. Set in three
large movements of
constrasting moods.2vn,
va, vc Duration:
30’ Composed: 2016
Published by: Elliott
Miles McKinley String
Quartet No. 8
(Youtube):.
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Subito Music
SKU: SU.29150030 Composed by Elliott Miles McKinley. Chamber Music, Strin...(+)
SKU: SU.29150030
Composed by Elliott Miles
McKinley. Chamber Music,
String
Trio/Quartet/Quintet.
String Quartet. Score.
Subito Music Corporation
#29150030. Published by
Subito Music Corporation
(SU.29150030).
String Quartet
No. 8 was composed in the
summer of 2016 and
premered in April 2017 by
the Auriga String Quartet
at Indiana State
University. Set in three
large movements of
constrasting moods.
Duration: 30’
Composed: 2016 Published
by: Elliott Miles
McKinley.
Glitter, Doom, Shards, Memory Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Theodore Presser Co.
(String Quartet No. 3). Composed by Shulamit Ran (1949-). For string quartet (2 ...(+)
(String Quartet No. 3).
Composed by Shulamit Ran
(1949-). For string
quartet (2 violins, 2
violas, violoncello).
Contemporary. Score and
Parts. Standard Notation.
Composed March 9 2013. 92
pages. Duration 23
minutes. Theodore Presser
Company #114-41690.
Published by Theodore
Presser Company
Edited by Jamey Aebersold. For any C, Eb, Bb, bass instrument or voice. Play-Alo...(+)
Edited by Jamey
Aebersold. For any C, Eb,
Bb, bass instrument or
voice. Play-Along series
with accompaniment CD.
Jazz Play-A-Long For All
Musicians. Book with CD.
Published by Jamey
Aebersold Jazz.
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir
SKU:
CF.CM9700
Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700).
ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk.
In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ.
Congregation, SATB choir, and organ, with optional brass quartet and timpani (In...(+)
Congregation, SATB choir,
and organ, with optional
brass quartet and timpani
(Instrumental Parts
include: Trumpet I and II
in B-flat and C, Horn in
F (substitute for
Trombone I), Trombone I
and II, Timpani) - Early
Intermediate
SKU:
MN.60-6114
Composed
by James Biery.
Reformation, Epiphany,
21st Century, Word of
God. MorningStar Music
Publishers #60-6114.
Published by MorningStar
Music Publishers
(MN.60-6114).
UPC:
688670661143.
English.
From the
mysterious to the
glorious, Biery perfectly
captures the wide-ranging
moods of this text, set
to the enduring tune
EBENEZER. This hymn
concertato was written
for the Schola Cantorum
of Concordia Theological
Seminary, Fort Wayne,
Indiana in observance of
the 500th anniversary of
the Reformation. So, it's
no surprise that the
setting has considerable
sweep and gravitas, with
some fresh harmonic
twists. A beautiful
choir-only section spans
stanzas three and four in
major tonalities that
nicely complement the
staid minor of the rest
of the hymn. The sixth
and final stanza is
unison with descant and
concludes with a choir
Alleluia and Amen.
Stirring and majestic.
Duration 4:00.
Chamber Music Tuba, Piano SKU: PR.114422850 Composed by Eric Ewazen. Set ...(+)
Chamber Music Tuba, Piano
SKU: PR.114422850
Composed by Eric Ewazen.
Set of Score and Parts.
Duration 16 minutes.
Theodore Presser Company
#114-42285. Published by
Theodore Presser Company
(PR.114422850).
ISBN
9781491137550. UPC:
680160691005.
Amid
his beloved catalog of
music for low brass,
NEWBURYPORT SONATA is
Eric Ewazen’s first
recital work for tuba.
The composer’s preface
tells us, “This work
was written during the
year of Covid quarantine,
and it reflects the
strong emotions of that
time. The final movement
is full of energy and a
return to life! There is
almost a march-like feel
to the music, with a
lively and even playful
rhythm as the tuba lines
are bold, strong, and
ultimately energetic and
exciting.” The work is
also available as
NEWBURYPORT QUINTET for
Tuba and String
Quartet. The
Newburyport Sonata began
life as the NEWBURYPORT
QUINTET for Tuba and
Strings, commissioned by
David Yang, director of
the Newburyport Chamber
Music Festival in
Massachusetts. The
quintet version was
premiered by members of
the festival, featuring
tuba soloist Scott
Devereaux of the U.S.
Army Field Band.I’ve
long been a fan of low
brass instruments and had
the pleasure of attending
the very first
Tuba/Euphonium Convention
at Indiana University,
which was a real
celebration of low brass!
As a former cellist
(I’ve long been a fan
of instruments with a
tenor/bass range, the
world of euphoniums and
tubas) I wanted to write
a piece showcasing both
the wonderful virtuosity
the instrument is capable
of, and also its
expressive lyricism,
which shaped the
NEWBURYPORT QUINTET. This
adaptation for tuba and
piano consequently has a
wide variety of musical
gestures and moods,
exploring the color of
the instruments.The first
movement is in compound
rhythm, with a lilting,
energetic 6/8 feel
supporting a cantabile
line in the Tuba. In a
traditional form, there
are contrasting themes,
sometimes playful and
sometimes heroic, which
share a lively, rolling
rhythm. The second
movement is a heartfelt
appassionata, with the
Tuba sometimes singing in
a soulful minor key, and
sometimes expressing
powerful emotions.This
work was written during
the year of Covid
quarantine, and it
reflects the strong
emotions of that time.
The final movement is
full of energy and a
return to life! There is
almost a march-like feel
to the music, with a
lively and even playful
rhythm as the tuba lines
are bold, strong, and
ultimately energetic and
exciting.In writing this
piece, I collaborated
greatly with Scott, who
played through passages I
wrote and gave me
technical suggestions on
how to flatter the
gorgeous sound of the
Tuba, allowing it to
really sing!The quintet
version is also available
from the publisher,
www.presser.com/114-42284
.