| Take My Yoke Upon You SATB Chorale SATB SATB Shawnee Press
By J. Paul Williams. For SATB Choir. Choral, General Use, Holy Week, Lent and Sa...(+)
By J. Paul Williams. For
SATB Choir. Choral,
General Use, Holy Week,
Lent and Sacred. Sheet
Music. Published by
Shawnee Press.
$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Servant's Song (from Colors of Grace) Shawnee Press
Choral (Instrumental Parts) SKU: HL.35019469 Composed by Joseph M. Martin...(+)
Choral (Instrumental
Parts) SKU:
HL.35019469 Composed
by Joseph M. Martin.
Shawnee Sacred. Holy
Week, Lent. Shawnee Press
#LB5719. Published by
Shawnee Press
(HL.35019469). UPC:
747510057895. 9x14
inches. Teaching
his disciples about
service and servanthood,
Christ gently bathed the
feet of his followers and
bid them to do the same.
“A Servant's
Song,” from the
cantata Colors of
Grace moves from the
beloved American folk
hymn, “What
Wondrous Love,”
into a moving and
inspiring retelling of
Christ's incredible
gesture of love toward
the disciples. Beautiful
imagery in the text calls
all Christians to take
the towel and basin and
use them well. Taking
up a tattered garment,
Jesus laid aside His
crown. There before His
own creation, Jesus took
a servant's place...
What an amazing lesson in
grace. $50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Shadow Fell on Sharon's Rose Chorale SATB Harold Flammer Music
By Joseph M. Martin. For SATB Choir. Choral. Sheet Music. Published by Harold Fl...(+)
By Joseph M. Martin. For
SATB Choir. Choral. Sheet
Music. Published by
Harold Flammer Music.
$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto Piano seul Theodore Presser Co.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202. What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Of Time and Passing Chorale SSAATTBB Peters
Choir Secular SSAATTBB choir (SSAATTBB) SKU: PE.EP68578 Three songs fo...(+)
Choir Secular SSAATTBB
choir (SSAATTBB) SKU:
PE.EP68578 Three
songs for unaccompanied
choir. Composed by
Daniel Knaggs. Choral
Works (inc. Oratorios).
Edition Peters. Choral
Octavo. 44 pages. Edition
Peters #98-EP68578.
Published by Edition
Peters (PE.EP68578).
ISBN 9790300759630.
English. Of Time
and Passing (2016) is a
cycle of three choral
songs written
specifically for the
London-based ensemble,
VOCES8, taking into
consideration their
versatilityand ability to
beautifully intone a
range of vocal colors
with precision and
grace. The first
song, I. Life, sets my
translation of the poem A
Vida by Brazilian poet
Olavo Bilac (1865-1918),
a poet I discovered while
studying Brazilian
Portuguese at the
University of Michigan. I
was drawn both to the
simplicity of the text
and to the possibilities
of teasing out dual
contrasting moods. In the
beginning and end, this
song explores a texture
that is very much alive:
wave-like contours,
throbbing sounds, and
plenty of flowing
movement. Rising
eighth-note motives in
particular emphasize the
fleetingness of life. But
in the middle of the
song, the listener is
given a slowed-down
atmosphere to savor
life's beauty. II.
To Everything a Season
capitalizes on VOCES8's
ability to effectively
interpret popular genres
a cappella. This ancient
text is taken from
Ecclesiastes (dated
around 300 B.C.) but I
set it to a modern,
rhythmically-regular and
percussive pop-style
idiom. Since popular
music in whatever era is
designed to appeal to
a specific ?present
time?, it is by its very
nature ephemeral, and
therefore seemed an apt
metaphor to evoke the
transitory nature of
seasons. III. Into
Your Hands, confines the
writing into no more than
four parts, often with
octave unisons.This
creates a more direct and
word-focused setting in
which the Psalmist?s
urgent words are placed
at the forefront. Largely
homophonic, this song is
at times chorale-like, at
times
madrigal-like, finall
y relinquishing it?s
tension into peaceful
rest, proclaiming ?You
have redeemed me, O Lord,
faithful God?? -
Daniel Knaggs $6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| It Is Well with My Soul Chorale SATB SATB, Piano [Octavo] Lorenz Publishing Company
By Philip P. Bliss. Arranged by Lloyd Larson. For SATB Choir and Piano. Sacred A...(+)
By Philip P. Bliss.
Arranged by Lloyd Larson.
For SATB Choir and Piano.
Sacred Anthem: General,
Lent. Octavo. Published
by Lorenz Publishing
Company
$2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| O the Chimneys Theodore Presser Co.
Chamber Music Clarinet, Flute, Mezzo-soprano voice, Percussion, Piano, Tape, Vio...(+)
Chamber Music Clarinet,
Flute, Mezzo-soprano
voice, Percussion, Piano,
Tape, Violoncello SKU:
PR.111401800 For
Mezzo-soprano Voice and
Chamber Ensemble with
Tape. Composed by
Shulamit Ran. Arranged by
Nelly Sachs. Text: Five
Poems of Nelly Sachs,
Translation from German
of Nos. I, III and IV by
Ruth and Matthew Mead, of
No. II by Michael Roloff
and No. V by Michael
Hamburger. Contemporary.
Set of Score and Parts.
With Standard notation.
Composed 1969.
51+16+14+20+14+15 pages.
Duration 18 minutes.
Theodore Presser Company
#111-40180. Published by
Theodore Presser Company
(PR.111401800). UPC:
680160618132. 8.5 x 11
inches. Text: Nelly
Sachs. Nelly Sachs. Text:
Five Poems of Nelly
Sachs, Translation from
German of Nos. I, III and
IV by Ruth and Matthew
Mead, of No. II by
Michael Roloff and No. V
by Michael
Hamburger. O The
Chimneys is a setting of
five poems by Nelly
Sachs, the great
German-Jewish 1966 Nobel
Prize co-winner in
literature, whose writing
concerned itself almost
entirely with the subject
of the holocaust.
Composed in 1969, the
work was my own personal
way of saying, through my
own art, do not forget.
Shockingly, these words
have as much relevance
today as they did when
the work was written.
Today we find ourselves
having to say do not
forget, do not distort,
do not deny it ever
happened. I
selected the five poems
from Sachs' O The
Chimneys collection,
retaining its grimly
evocative title even
though I did not include
the actual poem by that
name. In scoring the work
for female voice, flute,
clarinet/bass clarinet,
cello, piano and
percussion, I aimed to
give myself the broadest
possible palette of
instrumental colors while
using the smallest number
of participants. Yet as I
was planning the final
moments of my cycle, I
felt that instrumental
sound alone would not
suffice to express the
horror. An electronic
tape segment was added to
the work's final climax.
The first two
poems (A Dead Child
Speaks and Already
Embraced by the Arm of
Heavenly Solace), both
depicting the tearing of
a child away from his
mother, are treated
essentially as one unit,
with the first acting as
an introduction to the
second. These two, and
the cycle's apocalyptic
fifth poem (Hell is Naked
from Glowing Enigmas II),
act as the two weighty
pillar points, so to
speak, surrounding the
more introspective two
middle poems (Fleeing and
Someone Comes). To
maximize dramatic
differentiation within
the constraints of a
relentlessly tragic
subject matter, I used
range as a means to
delineate contrast, by
dividing the sounds
available to me into low
and dark (mvt. III) vs.
high and, at times,
eerily bright (mvt. IV)
colors. Thus the two
middle poems are intended
to balance the frenzied
madness of which the
work's outer parts are
made. The work
received its first
performance in New York
at the Metropolitan
Museum of Art's Grace
Rainey Auditorium on
January 19, 1970.
--Shulamit Ran. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| River Poem Orchestre d'harmonie - Facile FJH
Concert Band Concert Band - Grade 2.5 SKU: FJ.B1781 Composed by Tyler S G...(+)
Concert Band Concert Band
- Grade 2.5 SKU:
FJ.B1781 Composed by
Tyler S Grant. Concert
Band. FJH Young Band.
Form: Chorale. Score and
Part(s). Duration 4:00.
The FJH Music Company Inc
#98-B1781. Published by
The FJH Music Company Inc
(FJ.B1781). UPC:
241444404614.
English. Rivers
have often served as a
metaphor for life's
journey - starting in one
place and traveling to
somewhere unknown. This
metaphor is depicted in a
serene and contemplative
work that uses a variety
of colors and harmonies
unique to young bands.
Opulent mallet parts
interact with optional
piano to depict water
gracefully cascading
downwards. Gorgeous!
About FJH
Young
Band Appro
priate for middle school
and smaller high school
groups. Second clarinets
usually stay below the
break. Parts are written
with more independence,
and instrumentation
increases slightly. There
is still adequate
doubling in the lower
voices. Grades 2 -
2.5 $55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| River Poem Orchestre d'harmonie - Facile FJH
Concert Band Concert Band - Grade 2.5 SKU: FJ.B1781S Score Only. C...(+)
Concert Band Concert Band
- Grade 2.5 SKU:
FJ.B1781S Score
Only. Composed by
Tyler S Grant. Concert
Band. FJH Young Band.
Form: Chorale. Score.
Duration 4:00. The FJH
Music Company Inc
#98-B1781S. Published by
The FJH Music Company Inc
(FJ.B1781S).
English. Rivers
have often served as a
metaphor for life's
journey - starting in one
place and traveling to
somewhere unknown. This
metaphor is depicted in a
serene and contemplative
work that uses a variety
of colors and harmonies
unique to young bands.
Opulent mallet parts
interact with optional
piano to depict water
gracefully cascading
downwards. Gorgeous!
About FJH
Young
Band Appro
priate for middle school
and smaller high school
groups. Second clarinets
usually stay below the
break. Parts are written
with more independence,
and instrumentation
increases slightly. There
is still adequate
doubling in the lower
voices. Grades 2 -
2.5 $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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