Movement III - Mother Earth (SSA Choral Part). Composed by Johan De Meij. Amstel...(+)
Movement III - Mother
Earth (SSA Choral Part).
Composed by Johan De
Meij. Amstel Music.
Concert Piece. Set (Score
and Parts). Composed
2007. Amstel Music #AM
93-050. Published by
Amstel Music
A Mass in Celebration of Mother Earth. By Paul Winter. Composed by Paul Halley, ...(+)
A Mass in Celebration of
Mother Earth. By Paul
Winter. Composed by Paul
Halley, Jim Scott, Oscar
Castro-Neves, Kim Oler,
Paul Winter. For Soprano
Saxophone, Oboe/English
Horn, Cello, Piano,
Organ, Guitar, Bass and
Percussion. (IPAKS).
Choral. Instrumental
Score and Parts.
Published by Hal Leonard.
A Mass in Celebration of Mother Earth. Performed by Paul Winter. By Jim Scott, K...(+)
A Mass in Celebration of
Mother Earth. Performed
by Paul Winter. By Jim
Scott, Kim Oler, Oscar
Castro-Neves, Paul
Halley, Paul Winter.
(SATB). Choral. Size
6.75x10.5 inches. 103
pages. Published by Hal
Leonard.
Up From Earth's Center Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4257-01 Composed by Romeyn. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4257-01
Composed by Romeyn.
Concert Band. Concert
Band Series. Audio
recording available
separately (items
CL.WFR381 & CL.WFR387).
Extra full score.
Composed 2014. Duration 8
minutes, 13 seconds. Opus
III Wind Orchestra
Publications
#012-4257-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4257-01).
This brilliant
programmatic work from
the pen of Rob Romeyn is
an incredible display of
beauty, sensitivity,
emotion and vigorous
intensity. The journey
begins on the morning of
the great 1868 Hawaii
earthquake. Peaceful and
beautiful sounds of the
black sand beach of
Punalu’u are heard
as the sun rises. The
music then develops,
first with a statement of
the traditional melody
The Earth Is Our Mother
to remind us to respect
Mother Earth and be
mindful of her incredible
powers. As the tempo
quickens we are musically
transported into the
events of the fateful
day, as the earthquake
and resulting Tsunami
ensued. As the movement
of the earth subsides, we
return to the beach of
Punalu’u as Mother
Earth begins her renewal
of new life. Certain to
become a classic for
concert and festival use,
this is music of highest
quality!
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1115036-140 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1115036-140
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Score Only. Composed
2010. 14 pages. De Haske
Publications #DHP
1115036-140. Published by
De Haske Publications
(BT.DHP-1115036-140).
9x12 inches.
English-German-French-Dut
ch.
This piece was
commissioned by Oyama
City Symphonic Wind
Orchestra to commemorate
their 30th Anniversary.
The composer was inspired
by Oyama City’s
slogan, ‘water,
green and earth’,
to write this festive
fanfare. Following a
gentle opening a fanfare
leads to a magnifi cent
chorale. This turns into
a quickly moving
energetic section with
irregular rhythm. This is
a short but dramatic
piece that will make a
brilliant concert opener.
Beim Komponieren
dieses Werkes ließ
sich Satoshi Yagisawa von
den Schlagwörtern
Wasser“,
grün“ und
Erde“ aus dem Motto
der auftraggebenden Stadt
Oyama inspirieren. Mit
einer sanften Einleitung,
nach der die Fanfare zu
einem prachtvollen Choral
anschwillt, um dann ein
kraftvolles, schnelles
Thema hervorzubringen,
bietet Fanfare - The
Benefaction from Sky and
Mother Earth alles,
was es zu einer
wirkungsvollen
Konzerteröffnung
braucht.
Questo brano è
stato commissionato dalla
Oyama City Symphonic Wind
Orchestra in Giappone,
per celebrare il 30°
anniversario di
fondazione. Nello
scrivere il brano, il
compositore si è
ispirato allo slogan di
Oyama: acqua, verde e
terra.
L’introduzione
è discreta ed è
seguita da una fanfara
che accompagna il brano
ad un splendido corale.
Il brano diventa poi
più energico e veloce.
Un brano breve, ma di
grande impatto, tipico
dello stile di
Yagisawa.
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1115036-010 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1115036-010
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Set (Score & Parts).
Composed 2010. De Haske
Publications #DHP
1115036-010. Published by
De Haske Publications
(BT.DHP-1115036-010).
9x12 inches.
English-German-French-Dut
ch.
This piece was
commissioned by Oyama
City Symphonic Wind
Orchestra to commemorate
their 30th Anniversary.
The composer was inspired
by Oyama City’s
slogan, ‘water,
green and earth’,
to write this festive
fanfare. Following a
gentle opening a
fanfareleads to a
magnificent chorale. This
turns into a quickly
moving energetic section
with irregular rhythm.
This is a short but
dramatic piece that will
make a brilliant concert
opener.
Een
indrukwekkend en
kleurrijk openingswerk
waarvoor de componist
zich heeft laten
inspireren door de
Japanse stad Oyama.
Beim Komponieren
dieses Werkes ließ
sich Satoshi Yagisawa von
den Schlagwörtern
Wasser“,
grün“ und
Erde“ aus dem Motto
der auftraggebenden Stadt
Oyama inspirieren. Mit
einer sanften Einleitung,
nach der die Fanfare zu
einem prachtvollen Choral
anschwillt, um dann ein
kraftvolles, schnelles
Thema hervorzubringen,
bietet Fanfare - The
Benefaction from Sky and
Mother Earth alles,
was es zu einer
wirkungsvollen
Konzerteröffnung
braucht.
Questo brano è
stato commissionato dalla
Oyama City Symphonic Wind
Orchestra in Giappone,
per celebrare il 30°
anniversario di
fondazione. Nello
scrivere il brano, il
compositore si è
ispirato allo slogan di
Oyama: acqua, verde e
terra.
L’introduzione
è discreta ed è
seguita da una fanfara
che accompagna il brano
ad un splendido corale.
Il brano diventa poi
più energico e veloce.
Un brano breve, ma di
grande impatto, tipico
dello stile di
Yagisawa.
Blue Green Hills of Earth (SATB Voices and Descant with Keyboard). By Kim Oler. ...(+)
Blue Green Hills of Earth
(SATB Voices and Descant
with Keyboard). By Kim
Oler. Arranged by Carl
Strommen. SATB chorus.
For Voice Solo, SATB,
Keyboard. Composed for
the Paul Winter Consort's
Missa Gaia (Mass for
Mother Earth). It was
chosen to be sung by the
Gostelradio Youth Chorus
in Moscow and the San
Francisco Boys' Choir in
San Francisco,
simultaneously via
satellite. Choral. Piano
reduction/vocal score.
Standard notation. 7
pages. Published by Carl
Fischer
A Mass in Celebration of Mother Earth. Performed by Paul Winter. By Oscar Castro...(+)
A Mass in Celebration of
Mother Earth. Performed
by Paul Winter. By Oscar
Castro-Neves, Jim Scott,
Paul Winter, Paul Halley,
Kim Oler. (Sound Cues
CD). Choral. CD only.
Size 5x5 inches.
Published by Hal Leonard.
SKU: HL.50603432 For Solo Viola. Composed by Outi Tarkiainen. Inst...(+)
SKU: HL.50603432
For Solo Viola.
Composed by Outi
Tarkiainen. Instrumental.
Softcover. 6 pages.
Edition Wilhelm Hansen
#WH33315. Published by
Edition Wilhelm Hansen
(HL.50603432).
UPC:
840126923964. 10.5x14
inches.
Tarkiainen
writes: The Lustful
Mother's Heart is a
solo work that plumbs the
depths of one of the most
fundamental human
instincts - the tie
between a mother and her
new-born child that, as
day follows day, becomes
less part of its mother's
body. The work develops
themes from my song cycle
The Lustful Mother
in which long solo viola
passages strike to the
very heart of
down-to-earth, natural
womanhood. The Lustful
Mother's Heart was
born at a very special
moment in my life when my
second child was spending
his first weeks in this
world. The viola song
kept company with us
night and day, dark and
deep-rooted, at times
broadening out into a
hymn, weaving into our
fate as through a dream.
The Lustful Mother's
Heart is dedicated to
violist Ellen Nisbeth,
who also commissioned
it.
From Terra Nostra.
Composed by Stacy Garrop.
Full score. Duration
3:15. Theodore Presser
Company #312-41902S.
Published by Theodore
Presser Company
(PR.31241902S).
UPC:
680160690589.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Railways 1846 Chorale TTBB TTBB, Piano Theodore Presser Co.
Choral TTBB choir, piano SKU: PR.312419270 From Terra Nostra. Comp...(+)
Choral TTBB choir, piano
SKU: PR.312419270
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2
minutes. Theodore Presser
Company #312-41927.
Published by Theodore
Presser Company
(PR.312419270).
ISBN
9781491137918. UPC:
680160692606. English.
Charles
Mackay.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Choral SATB choir, piano SKU: PR.312419280 From Terra Nostra. Comp...(+)
Choral SATB choir, piano
SKU: PR.312419280
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 12
pages. Duration 5:30.
Theodore Presser Company
#312-41928. Published by
Theodore Presser Company
(PR.312419280).
ISBN
9781491137925. UPC:
680160692613.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
High Flight Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. C...(+)
Choral SATB Choir and
Piano
SKU:
PR.312419020
From
Terra Nostra.
Composed by Stacy Garrop.
Sws. Performance Score.
12 pages. Duration 3:15.
Theodore Presser Company
#312-41902. Published by
Theodore Presser Company
(PR.312419020).
ISBN
9781491131862. UPC:
680160680474. 6.875 x
10.5 inches.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
La Terre Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000851-140 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.GOB-000851-140
Composed by Rob Goorhuis.
Score Only. 61 pages.
Gobelin Music
Publications #GOB
000851-140. Published by
Gobelin Music
Publications
(BT.GOB-000851-140).
In the
composition 'La terre'
several aspects of Earth
have been translated into
sounds in an associative
manner. The first part
depicts Nature, Mother
Earth, stability, the
soil which is the source
of life. Earth symbolizes
tradition, rituals,
fertility. In the music
of the composition this
can be heard in tonic and
ostinato passages.
Furthermore, human
emotions such as
gladness, sorrow, wonder,
resignation, hope and
despair, indissolubly
connected as they are to
mankind's life on earth,
are musically reflected
in sudden gusts of
expression. Earth for us
human beings is the solid
ground on which
everything in life takes
place. In the second part
different moodsare evoked
in a sort of toccata. Now
and then the music sounds
fragmented, at other
times as a solid whole.
The robustness of the
music in this part has
its roots in the earth,
originates from it. It
reflects stability and
strength, but love and
nostalgia are also
present in soft and
fragile tones. 'La terre'
is a musical narrative
about Earth, in which
music has been given
ample room to show its
many-sided beauty.
In het werk La
terre worden op een
associatieve manier
allerlei elementen in
klanken vertaald. De
grondstoffen voor de
instrumenten zijn de
bouwstoffen voor de
compositie. Het eerste
gedeelte schildert de
natuur, moeder aarde,
houvast,de grond, waaruit
alles voortkomt. De grond
staat voor traditie,
rituelen, vruchtbaarheid.
In de muziek vertaalt
zich dit in grondtonige
passages, ostinato, maar
ook de windvlagen van de
inspiratie. De reflecties
van menselijkeemoties,
verbonden aan de aarde,
het leven op de aarde,
zijn o.a.: blijdschap,
verdriet, verwondering,
berusting, hoop, wanhoop.
De aarde is de vaste
grond, waarop alles zich
voltrekt. In het tweede
deel wordt gespeeld met
destemmingen in een soort
toccata. Soms
verbrokkelt, dan weer als
een massief geheel. De
robuustheid van de klank
is gegrond op de aarde,
komt er uit voort. Er
klinkt houvast en kracht
in door, maar ook de
liefde en nostalgie
wordtervaren in de zachte
en broze klanken. La
terre is het verhaal van
de aarde, waaruit muziek
oprijst in zijn
veelzijdige
schoonheid.
From Terra Nostra.
Composed by Stacy Garrop.
Set of Score and Parts.
Duration 3:15. Theodore
Presser Company
#312-41902A. Published by
Theodore Presser Company
(PR.31241902A).
UPC:
680160690510.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
La Terre Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000851-010 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.GOB-000851-010
Composed by Rob Goorhuis.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000851-010. Published by
Gobelin Music
Publications
(BT.GOB-000851-010).
In the
composition 'La terre'
several aspects of Earth
have been translated into
sounds in an associative
manner. The first part
depicts Nature, Mother
Earth, stability, the
soil which is the source
of life. Earth symbolizes
tradition, rituals,
fertility. In the music
of the composition this
can be heard in tonic and
ostinato passages.
Furthermore, human
emotions such as
gladness, sorrow, wonder,
resignation, hope and
despair, indissolubly
connected as they are to
mankind's life on earth,
are musically reflected
in sudden gusts of
expression. Earth for us
human beings is the solid
ground on which
everything in life takes
place. In the second part
different moodsare evoked
in a sort of toccata. Now
and then the music sounds
fragmented, at other
times as a solid whole.
The robustness of the
music in this part has
its roots in the earth,
originates from it. It
reflects stability and
strength, but love and
nostalgia are also
present in soft and
fragile tones. 'La terre'
is a musical narrative
about Earth, in which
music has been given
ample room to show its
many-sided beauty.
In het werk La
terre worden op een
associatieve manier
allerlei elementen in
klanken vertaald. De
grondstoffen voor de
instrumenten zijn de
bouwstoffen voor de
compositie. Het eerste
gedeelte schildert de
natuur, moeder aarde,
houvast,de grond, waaruit
alles voortkomt. De grond
staat voor traditie,
rituelen, vruchtbaarheid.
In de muziek vertaalt
zich dit in grondtonige
passages, ostinato, maar
ook de windvlagen van de
inspiratie. De reflecties
van menselijkeemoties,
verbonden aan de aarde,
het leven op de aarde,
zijn o.a.: blijdschap,
verdriet, verwondering,
berusting, hoop, wanhoop.
De aarde is de vaste
grond, waarop alles zich
voltrekt. In het tweede
deel wordt gespeeld met
destemmingen in een soort
toccata. Soms
verbrokkelt, dan weer als
een massief geheel. De
robuustheid van de klank
is gegrond op de aarde,
komt er uit voort. Er
klinkt houvast en kracht
in door, maar ook de
liefde en nostalgie
wordtervaren in de zachte
en broze klanken. La
terre is het verhaal van
de aarde, waaruit muziek
oprijst in zijn
veelzijdige
schoonheid.