Composed by Jesus Guridi (1886-1961). Music Sales America. Exam Material. Book O...(+)
Composed by Jesus Guridi
(1886-1961). Music Sales
America. Exam Material.
Book Only. 8 pages. Union
Musical Ediciones
#MUSUME19549. Published
by Union Musical
Ediciones
Wolcum Yole Chorale SATB SATB, Harpe Boosey and Hawkes
SATB and Harp (Piano). By Benjamin Britten. Arranged by Julius Harrison. (SATB)...(+)
SATB and Harp (Piano). By
Benjamin Britten.
Arranged by Julius
Harrison. (SATB). Boosey
and Hawkes Sacred Choral.
Size 6.8x10.5 inches. 8
pages. Published by
Boosey and Hawkes.
((from A Ceremony of Carols) SATB and Harp or Piano, New Edition). Composed by B...(+)
((from A Ceremony of
Carols) SATB and Harp or
Piano, New Edition).
Composed by Benjamin
Britten (1913-1976). For
Choral (SATB). Boosey and
Hawkes Sacred Choral. 12
pages. Boosey and Hawkes
#M051481613. Published by
Boosey and Hawkes
(For Solo Harp). By Gary Schocker. For harp. Contemporary. Solo part. Standard n...(+)
(For Solo Harp). By Gary
Schocker. For harp.
Contemporary. Solo part.
Standard notation.
Composed July 07 2012. 16
pages. Duration 16
minutes. Published by
Theodore Presser Company
Choral Harp 1, Harp 2, Piano, string quintet, SATB chorus SKU: CF.CM9220 ...(+)
Choral Harp 1, Harp 2,
Piano, string quintet,
SATB chorus
SKU:
CF.CM9220
From
Missa Brevis.
Composed by Jean Perry
David Perry. SWS.
Performance Score. With
Standard notation. 16
pages. Duration 3:30.
Carl Fischer Music
#CM9220. Published by
Carl Fischer Music
(CF.CM9220).
ISBN
9780825883385. UPC:
798408083380. 6.875 x
10.5 inches. Key: A
major. Text: Traditional
Latin Text. Traditional
Latin Text.
This
octavo is the Gloria from
Dave and Jean Perry's
Missa brevis. The
traditional Latin text is
coupled with an inspired
new and joyous
arrangement for our
times. Choral directors
looking for a grander
performance, can also use
an optional arrangement
for 2 harps and strings
(vln 1, vln 2 , vla,
cello, bass). If you do
not have 2 harps, a piano
part (different from the
piano part in the octavo)
is included to cover the
harps. The full score and
the parts for the 2
harps, the optional
substituting piano and
strings are available as
a free download at
www.carlfischer.com.
Duration: 3:30.
Harp SKU: HL.48181024 For Harp. Composed by Henriette Renie. Leduc...(+)
Harp
SKU:
HL.48181024
For
Harp. Composed by
Henriette Renie. Leduc.
Classical. Softcover. 15
pages. Alphonse Leduc
#AL20016. Published by
Alphonse Leduc
(HL.48181024).
UPC:
888680878566. 9x12
inches.
French
harpist and composer,
Henriette Renié
(1875-1956) lived in
poverty for much of her
life. However, this did
not stop her from
composing significant
works for the harp,
including Legend of
the Elves inspired
the poem of the same name
by French poet, Leconte
de Lisle. Despite being a
talented composer,
Renié lived at a
time where fame and
success was socially
unacceptable for women.
In 1903, she composed her
substantial work for
harp, Legend of the
Elves. As a highly
virtuosic work, this
Renié piece
displays use of cadenza
passages, exploitation of
tonality, complex rhythms
and variety in
performance directions.
For advanced harpists,
Renié's Legend
of the Elves is an
exciting and varied
addition to the
repertoire.
Chamber Music harp SKU: PR.110406720 Composed by Samuel Adler. Classical....(+)
Chamber Music harp
SKU: PR.110406720
Composed by Samuel Adler.
Classical. Softcover.
With Standard notation.
Duration 14 minutes.
Theodore Presser Company
#110-40672. Published by
Theodore Presser Company
(PR.110406720).
UPC:
680160001316.
I
have always been fond of
writing works for
specific people or
organizations. It has
been my good fortune
during most of my
creative career to be
asked to compose for many
extraordinary performers.
The Sonata for
Harpsichord Solo is such
a case in point: it was
written in 1982 for
Barbara Harbach, a superb
performer, close friend,
and collaborator on many
musical projects. The
Sonata was premiered on
March 2, 1984, in a
recital given by Dr.
Harbach at Nazareth
College in Rochester, New
York. During my formative
years as a composer, one
seldom heard of the
harpsichord as a modern
instrument, though while
I attended undergraduate
school at Boston
University, some of us
banded together to
construct a small
harpsichord from one of
the first do-it-yourself
kits which began to
appear in the late '40s.
It was also during this
time that I heard the
Sonatina for Violin and
Harpsichord by my teacher
Walter Piston and
consequently specified
that the accompanying
instrument for my second
violin sonata could
either be a piano or a
harpsichord. It was not
until recently, however,
that my interest in the
harpsichord as a solo
instrument for new music
was aroused. This was
because of the emergence
of so many young
virtuosi, such as Barbara
Harbach, who are
interested in the
performance of new music
besides the great
harpsichord music of the
Classical, Baroque, and
pre-Baroque eras. The
keyboard music of
Domenico Scarlatti has
always intrigued and
fascinated me. The
brevity, excitement, and
clarity of this sparkling
music is charming as well
as exhilarating. It is
this type of Baroque
sonata that inspired the
conception and form of my
harpsichord sonata. The
entire work is loosely
based on the musical
translation of Barabara
Harbach's name,
especially the conflict
of the B (B-flat) and H
(B-natural in German
notation). This secondo
rub or dissonance
especially pervades the
first movement, which is
in a modified sonata
form, pitting jagged and
tense melodic elements
against most lyrical and
smooth lines. This second
movement is a song-like
melody accompanied by
rolled chords which may
be played on the lute
stop of the instrument if
this sonata is performed
on a two-manual
harpsichord. The final
movement is an
ever-driving joyous
toccata which brings the
work to an exciting close
with a coda made up of
accelerating repeated
chords. --Samuel
Adler.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
(SSS and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). ...(+)
(SSS and Harp or Piano,
New Edition). Composed by
Benjamin Britten
(1913-1976). For Choral
(SSA). Boosey and Hawkes
Sacred Choral. 12 pages.
Boosey and Hawkes
#M051481620. Published by
Boosey and Hawkes
(SSA Chorus, Harp or Piano). By Benjamin Britten (1913-1976). For Choral (SSA). ...(+)
(SSA Chorus, Harp or
Piano). By Benjamin
Britten (1913-1976). For
Choral (SSA). Boosey and
Hawkes Sacred Choral. 12
pages. Boosey and Hawkes
#M051481644. Published by
Boosey and Hawkes
(SSA and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). ...(+)
(SSA and Harp or Piano,
New Edition). Composed by
Benjamin Britten
(1913-1976). For Choral
(SSA). Boosey and Hawkes
Sacred Choral. 12 pages.
Boosey and Hawkes
#M051481590. Published by
Boosey and Hawkes
Chamber Music Flute, Piano, Viola SKU: PR.11440719S Composed by Nathan Cu...(+)
Chamber Music Flute,
Piano, Viola
SKU:
PR.11440719S
Composed
by Nathan Currier. Set of
Score and Parts. With
Standard notation. 44
pages. Duration 11
minutes, 30 seconds.
Theodore Presser Company
#114-40719S. Published by
Theodore Presser Company
(PR.11440719S).
UPC:
680160011087. 8.5 x 11
inches.
Sambuca,
which most people know
today as a
licorice-flavored
liqueur, was the name the
Greeks gave to a kind of
sharp, shrill-sounding
harp, of Eastern,
possibly Jewish origin.
The Greeks then gave this
same name to a wooden
flute made from the elder
bush, and in the middle
ages it was also
associated with the viol,
at least to the extent
that the Hurdy-gurdy, an
instrument shaped like a
viol and played by means
of a rotating wheel, was
sometimes called a
Sambuca rotata. Thus, the
word Sambuca is tied up
with the ancestors - in
each case, ancestors of
ow birth, as it were - of
the modern harp, flute,
and viola. Somehow, the
present-day association
with alcohol seems very
meet, in that a certain
objectionable quality
seems to have gone with
the name - in 1545 one
George Ascham wrote, This
I am sure... all maner of
pypes, barbitons,
sambukes... be condemned
of Aristotle. The word
Sambucistria - for a
female Sambuca player -
was used by Plutarch and
others to evoke a feeling
of foreign-inspired
decadence [Grove's
Dictionary of Musical
Instruments, 1984].
Currier's work is truly a
Sambuca sonata. Written
for the three Sambuca
instruments, Currier has
first of all seemingly
endeavoured to make the
harp part particularly
Sambuca-like (i.e., sharp
and shrill) with its many
nail and xylophonic
effects, but more
importantly, has used
musical material that
corresponds to the
low-brow, somewhat
Dionysian, indeed, today
even Bacchanalian
implication of the name -
thus, rock music seems to
inspire a great deal
Currier's work [the
Samba, an appropriately
Bacchanalian Brazilian
Carnival dance, in duple
meter with syncopations,
while apparently having
no etymological
connection to Sambuca,
might seem to be
musically involved, too].
The Sambuca which lies
behind this rather
drunken piece is probably
the only musical
instrument which became a
model for an instrument
of war; one Craxton wrote
in 1489 that Sambuce is
an engyn whiche is made
in manere of a harpe able
to perce a walle. But
whether talking of the
modern liqueur or the
ancient instrument
condemned of Aristotle
and mentioned four times
in the Book of Daniel, it
is a shame that Debussy -
inspired by the Dionysian
side of classical culture
(as in Prelude a
l'apres-midi d'un faune)
- seems to have remained
ignorant Sambuca, a word
which to some extent must
lie behind all works for
this wonderful
instrumentation which he
invented, and which I
might seem to have
striven unconsciously,
equally ignorant, to make
the sole basis of
Currier's work - until,
having completed this
piece, written for
harpist Marie-Pierre
Langlamet, and rummaging
around for a title, I
chanced upon it in an old
dictionary.
By David Liptak. By David Liptak. For Concert Band. Concert Band. Donald Hunsber...(+)
By David Liptak. By David
Liptak. For Concert Band.
Concert Band. Donald
Hunsberger Wind Library.
Level: 5 (Medium
Advanced) (grade 5).
Conductor Score and
Parts. 259 pages.
Published by Alfred
Publishing.
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
A Golden Jubilation Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1175792-010 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1175792-010
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Opening Pieces. Set
(Score & Parts). Composed
2017. De Haske
Publications #DHP
1175792-010. Published by
De Haske Publications
(BT.DHP-1175792-010).
English-German-French-
Dutch.
This work
was composed as a
commission by the Aikodai
Meiden High School
Symphonic Band, for the
50th anniversary of their
annual concert; the title
A Golden
Jubilation is a
reference to this. The
close friendship between
Hiroki Ito, theconductor
of the band, and Satoshi
Yagisawa resulted in this
brilliant and
exhilarating fanfare of
approximately two minutes
in length; the piece is
ideal to use as a concert
opener. The original
composition was arranged
for an extremely wide
rangeof instruments and a
band of 200 musicians,
including a separate
‘banda’,
harp and a variety of
special instruments. This
new version has been
rescored for standard
band instrumentation by
the composer
himself.
Dit werk
is geschreven in opdracht
van de Aikodai Meiden
High School Symphonic
Band, ter gelegenheid van
het vijftigste
jaarconcert dat door het
orkest werd uitgevoerd
een feit waar de titel
naar verwijst. De hechte
vriendschap tussen Hiroki
Ito(de dirigent van het
orkest) en Satoshi
Yagisawa leidde ertoe dat
Yagisawa op uitnodiging
deze schitterende,
boeiende fanfare van
circa twee minuten lang
schreef: een werk dat
ideaal is als opening van
een concert. De
oorspronkelijke
compositie
werdgearrangeerd voor een
extreem omvangrijke
instrumentatie, waaronder
een afzonderlijke
banda, harp en
diverse speciale
instrumenten, maar deze
nieuwe versie is door de
componist zelf opnieuw
georkestreerd voor een
standaard
harmonieorkest.
Di
eses Werk wurde von der
Aikodai Meiden High
School Symphonic Band
anlässlich ihres
50-jährigen
Konzertjubiläums, auf
das sich der Titel des
Werkes bezieht, in
Auftrag gegeben. Die enge
Freundschaft zwischen
Hiroki Ito, dem Leiter
des Orchesters,und
Satoshi Yagisawa
führte zur Komposition
dieser brillanten und
hinreißenden Fanfare
von etwa zwei Minuten
Dauer, die sich bestens
als Eröffnungsstück
eignet. Die
Originalkomposition wurde
für eine extrem
große Besetzung
inklusive einer
separatenBanda“,
Harfe und einigen
Spezialinstrumenten
komponiert. Diese neue
Version hat der Komponist
für eine
Standardbesetzung neu
instrumentiert.
Quest
a fanfara brillante della
durata di circa 2 minuti,
ispirata
dall’amicizia tra
Hiroki Ito il direttore
della banda e Satoshi
Yagisawa, è ideale
come apertura di un
concerto. L’opera
originale venne
arrangiata per una
strumentazione molto
ampia e una banda di 200
musicisti, inclusa una
sezione separata, con
un’arpa e una
variet di strumenti
speciali. Questa nuova
versione è stata
riarrangiata per banda
con strumentazione
standard dallo stesso
compositore.
A Golden Jubilation Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1175792-140 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1175792-140
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Opening Pieces. Score
Only. Composed 2017. 13
pages. De Haske
Publications #DHP
1175792-140. Published by
De Haske Publications
(BT.DHP-1175792-140).
English-German-French-
Dutch.
This work
was composed as a
commission by the Aikodai
Meiden High School
Symphonic Band, for the
50th anniversary of their
annual concert; the title
A Golden
Jubilation is a
reference to this. The
close friendship between
Hiroki Ito, theconductor
of the band, and Satoshi
Yagisawa resulted in this
brilliant and
exhilarating fanfare of
approximately two minutes
in length; the piece is
ideal to use as a concert
opener. The original
composition was arranged
for an extremely wide
rangeof instruments and a
band of 200 musicians,
including a separate
‘banda’,
harp and a variety of
special instruments. This
new version has been
rescored for standard
band instrumentation by
the composer
himself.
Dit werk
is geschreven in opdracht
van de Aikodai Meiden
High School Symphonic
Band, ter gelegenheid van
het vijftigste
jaarconcert dat door het
orkest werd uitgevoerd
een feit waar de titel
naar verwijst. De hechte
vriendschap tussen Hiroki
Ito(de dirigent van het
orkest) en Satoshi
Yagisawa leidde ertoe dat
Yagisawa op uitnodiging
deze schitterende,
boeiende fanfare van
circa twee minuten lang
schreef: een werk dat
ideaal is als opening van
een concert. De
oorspronkelijke
compositie
werdgearrangeerd voor een
extreem omvangrijke
instrumentatie, waaronder
een afzonderlijke
banda, harp en
diverse speciale
instrumenten, maar deze
nieuwe versie is door de
componist zelf opnieuw
georkestreerd voor een
standaard
harmonieorkest.
Di
eses Werk wurde von der
Aikodai Meiden High
School Symphonic Band
anlässlich ihres
50-jährigen
Konzertjubiläums, auf
das sich der Titel des
Werkes bezieht, in
Auftrag gegeben. Die enge
Freundschaft zwischen
Hiroki Ito, dem Leiter
des Orchesters,und
Satoshi Yagisawa
führte zur Komposition
dieser brillanten und
hinreißenden Fanfare
von etwa zwei Minuten
Dauer, die sich bestens
als Eröffnungsstück
eignet. Die
Originalkomposition wurde
für eine extrem
große Besetzung
inklusive einer
separatenBanda“,
Harfe und einigen
Spezialinstrumenten
komponiert. Diese neue
Version hat der Komponist
für eine
Standardbesetzung neu
instrumentiert.
Quest
a fanfara brillante della
durata di circa 2 minuti,
ispirata
dall’amicizia tra
Hiroki Ito il direttore
della banda e Satoshi
Yagisawa, è ideale
come apertura di un
concerto. L’opera
originale venne
arrangiata per una
strumentazione molto
ampia e una banda di 200
musicisti, inclusa una
sezione separata, con
un’arpa e una
variet di strumenti
speciali. Questa nuova
versione è stata
riarrangiata per banda
con strumentazione
standard dallo stesso
compositore.
Recorder and Piano - Advanced SKU: FP.FDD02 Composed by David Dubery. She...(+)
Recorder and Piano -
Advanced
SKU:
FP.FDD02
Composed by
David Dubery. Sheet Music
and Books. An evocative
piece for treble recorder
or oboe and piano
inspired by two historic
Stockport landmarks.
Classical. Collection.
Forsyths Publications
#FDD02. Published by
Forsyths Publications
(FP.FDD02).
ISBN
9790570503834.
Vern
on Park,
Stockport’s oldest
park, was created on land
donated by Lord Vernon
(George John Warren). It
was built by poor mill
workers who called it
pinch-belly park and
opened on 20th September
1858. Comprising
twenty-one acres, it
houses a museum, a
bandstand, ornamental
fountains, a fernery,
rockery, borders and
sunken rose garden as
well terraced walkways
that overlook the river
and weir. The piece
depicts a solitary walker
engrossed in his own
thoughts on a
winter’s day, the
landscape, and the
park’s Victorian
past.
At the very
end of the piece a
reminder of the
park’s Victorian
origins can be detected
in a quote from
Elgar’s Salut
d’amour of 1899,
which may well have been
played by a band in the
bandstand. Stockport
market celebrated its
750th anniversary in
2010. It dated back to
September 1260 when a
Royal Charter allowed
Robert de Stokeport, the
Mayor, to hold a weekly
market within the
defensive walls of the
Norman Castle on the
present site of Castle
Yard.
The Glass
Umbrella was a popular
name given to the 1861
covered market built of
timber, glass and iron -
nine bays with open sides
and a glass canopy. In
1912, one bay was removed
to enable electric trams
and trolley buses to turn
a sharp
corner.
The piece
depicts a lively market
day, the multiculturalism
of the present day and
the old cries of pick and
pay without delay. The
bells of St Mary’s
Church are depicted by a
cascading peel tuned to
the ten bells of the
church tower, and a
fleeting reference to
John Wainwright’s
famous Christmas hymn
Christians Awake, and the
Westminster chimes
striking the hour from St
Mary’s, bring to
piece to a conclusion.
Separate parts are
provided for recorder and
oboe.
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Nordanvind Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5
SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71).
ISBN
9781491143544. UPC:
680160901043. Key: G
minor.
Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak .
Orchestra SKU: HL.14027993 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra
SKU:
HL.14027993
Composed
by Poul Ruders. Music
Sales America. Classical.
Score. Composed 2006. 164
pages. Edition Wilhelm
Hansen #WH30602.
Published by Edition
Wilhelm Hansen
(HL.14027993).
ISBN
9788759811832.
English.
Premiered
at the festival 'Magma
Berlin 2002' by the
Berlin Philharmonic
Orchestra, conducted by
David Robertson, 29th
November 2002.
3
Flutes, 1st and 2nd also
Alto Flutes in G, 3rd
also Piccolo 3 Oboes,
3rd also Cor Anglais in
F 3 Clarinets in Bb,
3rd also Bass Clarinet in
Bb 3 Bassoons, 3rd
also Contra
Bassoon
4 Horn in
F 3 Trumpets in
Bb 3 Trombones 1
Tuba
Timpani 4 Percussion, four
players Player
1 - Vibraphone,
Glockenspiel, Water
Chime, Bell Tree,
Japanese Wood Blocks,
Cymbal (Suspended),
TamTam (Medium) Player
2 - Triangle, Tubular
Bells, Crotales, Marimba,
Chinese Cymbal Player
3 - TamTam (Large), Java
Gong(Large, very low),
Bell Lyra (Handheld),
Sizzle Cymbal Player 4
- Bass Drum,
Glockenspiel,
Xylophone
1
Harp
1 Piano, also
Celesta
Strings -
16/14/12/10/8
All
transposing instruments
are notated in their
relevant
transpositions. Any
accidental apply only to
the note that it
immediately precedes,
except tied
notes. Naturals appear
occasionally 'for
safety'.
'LIST
ENING EARTH' is a
symphonic drama, a one-
movement composition in
four parts based on the
work by two writers,
Joseph Addison
(1672-1719) and W.H.Auden
(1907-1973). Joseph
Addison is not
particularly well known;
he was English, a
classical scholar,
essayist, poet and
politician, but one of
his hymns was used by
Benjamin Britten. in his
setting of a Thomas
Tallis canon. The hymn
is singularly beautiful
and being a composer
always inspired by
extramusical stimuli such
as poems, nature,
paintings, I was
immediately convinced
when I carne across the
Addison hymn, that here
was exactly what I wanted
to use as my major source
of inspiration for this
piece, commissioned by
and written for The
Berlin Philharmonic.
I don't refer to the
hymn in its entirety, but
have chosen the following
3 excerpts, all acting as
mottos for the first
three sections of the
piece, thus turning the
piece into a
straightforward tonepoem
in the classical.
Choral (SATB Choir) SKU: HL.48022495 SATB and Harp or Piano, New Editi...(+)
Choral (SATB Choir)
SKU: HL.48022495
SATB and Harp or
Piano, New Edition.
Composed by Benjamin
Britten. Boosey & Hawkes
Sacred Choral. Classical.
Octavo. 12 pages. Boosey
& Hawkes #M051481583.
Published by Boosey &
Hawkes (HL.48022495).
ISBN 9781476871486.
UPC: 884088669676.
6.75x10.5
inches.
Texts:
Latin and
English
Publisher:
Boosey &
Hawkes
Difficulty
level: 3
The
Ceremony of Carols is
one of Britten's
best-known and
most-performed works. It
is a brilliantly
conceived and dramatic
concert work which sees
the voices process to
their places singing
unaccompanied plainsong
and, at the end,
processing out again to
the same chant. These
movements can also be
accompanied but strictly
only if the voices do not
process. The final
Alleluia can be repeated
as many times as
necessary to get the
singers to and from their
destination.The carols
are for three-part
children's voices
(though, of course they
can be sung by female
adults as well) and they
form a two-part work
around a central
Interlude for harp which
is based on the plainsong
from the Procession.
Variety is the key word
here as all the carols
have such individual
identities. The
forthright Wolcum Yole!,
the deliciously lyrical
There is no Rose, the
swinging Balulalow, the
fiery and dramatic This
little Babe all
contribute to a work
which is a feast of
discovery throughout.
Lovely solos and duos add
further colour and the
harp part, an inspired
choice of accompaniment,
enriches, colours and
surrounds the voices with
its pictorial musical
imagery. If anything
shows Britten's genius
for writing for voices it
must be this
work.
The
challenges here are in
creating a real equality
between voice parts,
fielding a confident pair
of soloists, and making
the most of the
wonderfully colourful
poems Britten has chosen
to set. Pronunciation is
not really an issue, but
when I recorded this work
with the Finzi Singers I
decided to follow the
example of Sacred and
Profane and use authentic
medieval pronunciation
for which an expert coach
was necessary. It brings
an added element of
colour to a familiar
aural
experience.
For
Orchestra. Composed
by Clint Needham. Study
Score. 54 pages. Duration
9 minutes. Theodore
Presser Company
#116-40342S. Published by
Theodore Presser Company
(PR.11640342S).
UPC:
680160687749.
The
Body Electric draws its
inspiration from great
American poet, Walt
Whitman's work I Sing the
Body Electric. Two years
earlier, while writing a
setting of Whitman's
Crossing Brooklyn Ferry
for baritone and chamber
orchestra, I became
enamored with many of the
poems from his
collection, The Leaves of
Grass. I had not
revisited Whitman's
poetry since high school
and that distance
provided a fresh look at
Whitman's poetry. In the
spring of 2009, I came
back to this collection
and decided to write
another work inspired by
Whitman's poetry, this
time for chamber
orchestra alone. Writing
a work that attempted to
capture the mood of this
epic poem seemed
impossible. Because of
the inherent abstract
nature of text-less
music, writing a work
that was a musical
blow-by-blow of the poem
seemed equally
impossible. For me, the
solution was to take
three fragments of the
poem and focus on
conveying their
particular moods. In the
score, I have included
the following lines at
the beginning of each
section: the Body
electric, A divine nimbus
exhales, and the Body at
auction. the Body
Electric was written for
the 2009 Wellesley
College Composers
Conference and was
premiered on the final
concert of the conference
with Jim Baker
conducting. Clint
Needham. the Body
Electric draws its
inspiration from great
American poet, Walt
Whitman’s work I
Sing theBody Electric.
Two years earlier, while
writing a setting of
Whitman’s Crossing
Brooklyn Ferry
forbaritone and chamber
orchestra, I became
enamored with many of the
poems from his
collection,The Leaves of
Grass. I had not
revisited
Whitman’s poetry
since high school and
that distanceprovided a
fresh look at
Whitman’s poetry.
In the spring of 2009, I
came back to this
collectionand decided to
write another work
inspired by
Whitman’s poetry,
this time for chamber
orchestraalone.Writing a
work that attempted to
capture the mood of this
epic poem seemed
impossible. Becauseof the
inherent abstract nature
of text-less music,
writing a work that was a
musical blow-by-blowof
the poem seemed equally
impossible. For me, the
solution was to take
three fragments of
thepoem and focus on
conveying their
particular moods. In the
score, I have included
the followinglines at the
beginning of each
section: the Body
electric, A divine nimbus
exhales, and the Bodyat
auction.the Body Electric
was written for the 2009
Wellesley College
Composers Conference and
waspremiered on the final
concert of the conference
with Jim Baker
conducting.Clint
Needham.
For
Orchestra. Composed
by Clint Needham. Large
Score. 54 pages. Duration
9 minutes. Theodore
Presser Company
#116-40342L. Published by
Theodore Presser Company
(PR.11640342L).
UPC:
680160687756.
The
Body Electric draws its
inspiration from great
American poet, Walt
Whitman's work I Sing the
Body Electric. Two years
earlier, while writing a
setting of Whitman's
Crossing Brooklyn Ferry
for baritone and chamber
orchestra, I became
enamored with many of the
poems from his
collection, The Leaves of
Grass. I had not
revisited Whitman's
poetry since high school
and that distance
provided a fresh look at
Whitman's poetry. In the
spring of 2009, I came
back to this collection
and decided to write
another work inspired by
Whitman's poetry, this
time for chamber
orchestra alone. Writing
a work that attempted to
capture the mood of this
epic poem seemed
impossible. Because of
the inherent abstract
nature of text-less
music, writing a work
that was a musical
blow-by-blow of the poem
seemed equally
impossible. For me, the
solution was to take
three fragments of the
poem and focus on
conveying their
particular moods. In the
score, I have included
the following lines at
the beginning of each
section: the Body
electric, A divine nimbus
exhales, and the Body at
auction. the Body
Electric was written for
the 2009 Wellesley
College Composers
Conference and was
premiered on the final
concert of the conference
with Jim Baker
conducting. Clint
Needham. the Body
Electric draws its
inspiration from great
American poet, Walt
Whitman’s work I
Sing theBody Electric.
Two years earlier, while
writing a setting of
Whitman’s Crossing
Brooklyn Ferry
forbaritone and chamber
orchestra, I became
enamored with many of the
poems from his
collection,The Leaves of
Grass. I had not
revisited
Whitman’s poetry
since high school and
that distanceprovided a
fresh look at
Whitman’s poetry.
In the spring of 2009, I
came back to this
collectionand decided to
write another work
inspired by
Whitman’s poetry,
this time for chamber
orchestraalone.Writing a
work that attempted to
capture the mood of this
epic poem seemed
impossible. Becauseof the
inherent abstract nature
of text-less music,
writing a work that was a
musical blow-by-blowof
the poem seemed equally
impossible. For me, the
solution was to take
three fragments of
thepoem and focus on
conveying their
particular moods. In the
score, I have included
the followinglines at the
beginning of each
section: the Body
electric, A divine nimbus
exhales, and the Bodyat
auction.the Body Electric
was written for the 2009
Wellesley College
Composers Conference and
waspremiered on the final
concert of the conference
with Jim Baker
conducting.Clint
Needham.