Choral (SATB) SKU: HL.374953 Composed by Stuart Hamblen. Arranged by Mary...(+)
Choral (SATB)
SKU:
HL.374953
Composed by
Stuart Hamblen. Arranged
by Mary McDonald.
Daybreak Choral Series.
General Worship, Sacred.
Octavo. 12 pages.
Duration 16500 seconds.
Published by Daybreak
Music (HL.374953).
UPC: 196288017479.
6.75x10.5x0.029 inches. I
Peter 1:18-21, Jeremiah
29:11, John
14:1-3.
A true
gospel classic is
thoughtfully crafted into
a choral gem in this
engaging octavo. Recorded
by many inspirational
artists through the
years, this musical
testimony of faith
reminds us that although
life's journey is filled
with challenges, we are
people of promise and
hope. Timeless in impact,
this sacred evergreen
will be a favorite with
your congregation.
Inspiring!
Choir SKU: LP.MU-5534T Anthems. Traditional and Sacred. Stereo & split-ch...(+)
Choir
SKU:
LP.MU-5534T
Anthems.
Traditional and Sacred.
Stereo & split-channel
accompaniment CD with
demo. Published by
Lillenas Publishing
Company (LP.MU-5534T).
UPC:
765762039827.
Lille
nas Choraltrax CD
includes stereo and
split-channel mixes as
well as demo recording
for two Lillenas octavos:
AN-9075 LOOK FOR ME
AROUND THE THRONE and
AN-2669 UNTIL HE COMES
AGAIN.
Composed by
Tyler Arcari. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
16+4+8+16+4+4+8+4+4+8+8+8
+4+4+4+4+6+6+2+6+8+2+3+2+
4+10+28+4 pages. Duration
4 minutes, 6 seconds.
Carl Fischer Music
#CPS219. Published by
Carl Fischer Music
(CF.CPS219).
ISBN
9781491152454. UPC:
680160909957.
Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short.
Composed
by Tyler Arcari. Concert
Band (CPS). Full score.
With Standard notation.
28 pages. Carl Fischer
Music #CPS219F. Published
by Carl Fischer Music
(CF.CPS219F).
ISBN
9781491153130. UPC:
680160910632.
Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short.
Choral SATB choir, piano SKU: CF.CM9608 Composed by Jamey Ray. Fold. Perf...(+)
Choral SATB choir, piano
SKU: CF.CM9608
Composed by Jamey Ray.
Fold. Performance. 12
pages. Duration 3
minutes, 33 seconds. Carl
Fischer Music #CM9608.
Published by Carl Fischer
Music (CF.CM9608).
ISBN 9781491154304.
UPC: 680160912803. 6.875
x 10.5 inches. Key: E
major. English. Alfred,
Lord Tennyson
(1809-1892).
The
beauty in Alfred, Lord
Tennysons poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 5764,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennysonas
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m.A 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word adeepa in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word adarka in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word aembark,a
which is to be an ascent
to Heaven. The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm. 57a64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word awhen.a Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.
~Jamey Ray. The beauty
in Alfred, Lord
Tennyson’s poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m.Â
19, providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word
“deep†in m.
27 gives another instance
of text painting.Take
advantage of the minor
second suspension on the
word “darkâ€
in m. 38 in order to
achieve a feeling of
suspense. The entrance at
m. 41 is full, and while
still minor, the text
gives us hope for a
change. The change comes
in m. 45 with the
staggered entrances
creating a sense of
building and ascent until
the climax of this moment
at m. 47 on the word
“embark,â€
which is to be an ascent
to Heaven.The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm.
57–64, the altos
trade the melody back and
forth with the sopranos.
Take note that the alto
melody should be brought
out, but the line does
not actually begin until
the word
“when.â€Lastly
, be intentional with
syllabic stress (no two
eighth notes or quarter
notes alike) and to give
direction to any note
longer than a quarter.I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.~Jamey
Ray.
High
Wire Act for
Orchestra. Composed
by Michael Boyman. Study
Score. With Standard
notation. Duration 8
minutes. Merion Music
#446-41340. Published by
Merion Music
(PR.446413400).
UPC:
680160667406. 9 x 12
inches.
Tightrope
Walker is my first piece
for full orchestra. Given
the large forces
available to me, I wanted
to write something
exciting, colorful and
visceral. I remembered
back to when I was a kid
going to see the Cirque
du Soleil. That trip made
a big impression on me,
especially the high wire
performers. These were
artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking one's
life to entertain an
audience has stayed with
me, and Tightrope Walker
is my attempt at
recreating that special
childhood experience. The
opening of the piece
hints at what's to come -
a steady, walking pulse
interrupted by missteps
in the woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes tense.
The primary themes of the
piece are presented in
fragments, most notably
the Tightrope Walker's
theme in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is restored.
We are now at the circus,
excited and expectant,
and the fragmentary
themes heard previously
are now presented in
their full forms. The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second half
of the piece depicts the
Tightrope Walker
performing for his
audience. But from the
outset, as in the
beginning of the piece,
we hear there are
problems. The pressure
mounts, the audience
clamoring for more, until
Tightrope Walker comes to
a decisive and
potentially fatal
end. Tightrope
Walker is my first
piece for full
orchestra. Given the
large forces available to
me, I wanted to write
something exciting,
colorful and
visceral. I
remembered back to when I
was a kid going to see
the Cirque du Soleil.Â
That trip made a big
impression on me,
especially the high wire
performers. These
were artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking
one’s life to
entertain an audience has
stayed with me,
and Tightrope
Walker is my attempt
at recreating that
special childhood
experience.The opening of
the piece hints at what's
to come - a steady,
walking pulse interrupted
by missteps in the
woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes
tense. The primary
themes of the piece are
presented in fragments,
most notably the
Tightrope Walker's theme
in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is
restored.We are now at
the circus, excited and
expectant, and the
fragmentary themes heard
previously are now
presented in their full
forms. Â The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second
half of the piece depicts
the Tightrope Walker
performing for his
audience. But from
the outset, as in the
beginning of the piece,
we hear there are
problems. The
pressure mounts, the
audience clamoring for
more, until Tightrope
Walker comes to a
decisive and potentially
fatal end.
High
Wire Act for
Orchestra. Composed
by Michael Boyman. Large
Score. With Standard
notation. Duration 8
minutes. Merion Music
#446-41340L. Published by
Merion Music
(PR.44641340L).
UPC:
680160667413. 11 x 17
inches.
Tightrope
Walker is my first piece
for full orchestra. Given
the large forces
available to me, I wanted
to write something
exciting, colorful and
visceral. I remembered
back to when I was a kid
going to see the Cirque
du Soleil. That trip made
a big impression on me,
especially the high wire
performers. These were
artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking one's
life to entertain an
audience has stayed with
me, and Tightrope Walker
is my attempt at
recreating that special
childhood experience. The
opening of the piece
hints at what's to come -
a steady, walking pulse
interrupted by missteps
in the woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes tense.
The primary themes of the
piece are presented in
fragments, most notably
the Tightrope Walker's
theme in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is restored.
We are now at the circus,
excited and expectant,
and the fragmentary
themes heard previously
are now presented in
their full forms. The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second half
of the piece depicts the
Tightrope Walker
performing for his
audience. But from the
outset, as in the
beginning of the piece,
we hear there are
problems. The pressure
mounts, the audience
clamoring for more, until
Tightrope Walker comes to
a decisive and
potentially fatal
end. Tightrope
Walker is my first
piece for full
orchestra. Given the
large forces available to
me, I wanted to write
something exciting,
colorful and
visceral. I
remembered back to when I
was a kid going to see
the Cirque du Soleil.Â
That trip made a big
impression on me,
especially the high wire
performers. These
were artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking
one’s life to
entertain an audience has
stayed with me,
and Tightrope
Walker is my attempt
at recreating that
special childhood
experience.The opening of
the piece hints at what's
to come - a steady,
walking pulse interrupted
by missteps in the
woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes
tense. The primary
themes of the piece are
presented in fragments,
most notably the
Tightrope Walker's theme
in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is
restored.We are now at
the circus, excited and
expectant, and the
fragmentary themes heard
previously are now
presented in their full
forms. Â The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second
half of the piece depicts
the Tightrope Walker
performing for his
audience. But from
the outset, as in the
beginning of the piece,
we hear there are
problems. The
pressure mounts, the
audience clamoring for
more, until Tightrope
Walker comes to a
decisive and potentially
fatal end.
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).
Cliffhanger Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS34 Full Sco...(+)
Orchestra String
Orchestra - Medium
Easy/Medium
SKU:
CF.CAS34
Full
Score and Parts.
Composed by Sean
O'Loughlin. Carl Fischer
Concert String Orchestra
Series. Score and Parts.
With Standard notation.
12+16+16+4+10+10+10+4
pages. Carl Fischer Music
#CAS34. Published by Carl
Fischer Music (CF.CAS34).
ISBN 9780825861055.
UPC: 798408061050. 8.5 X
11 inches. Key: E
minor.
Cliffhanger
is a programmatic work
for string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching. Nicely
done!. Cliffhanger is
a programmatic work for
string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday-afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching.The opening
of the piece sets the
scene with danger and
desperation. By m. 6, our
hero is making his way on
horseback to rescue the
fair maiden. This main
melody is developed and
passed around the
ensemble until m. 36, at
which point despair sets
in. The music is rich
with romantic harmonies
and inner lines. Be sure
to bring out these inner
lines to add to the
passion and drama of the
moment. It continues to
build until a thunderous
arrival at m. 49. From
there we return to our
hero, who is now getting
close to the train tracks
to save the fair maiden.
The tension becomes the
highest at m. 61, when we
are still not sure if our
hero will make it in
time. But alas, at m. 68
he swoops in to save the
day and rescue the fair
maiden. Of course, they
live happily ever
after.My hope is that
your ensemble will have
some fun with this style
of music. It was adapted
from an arrangement I
wrote for the new pipe
organ at the Walk Disney
Concert Hall in Los
Angeles. They wanted some
scary train music to show
children how the organ
was used back before
movies had sound. Strings
provide a heightened
sense of drama with this
genre of music.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Highbridge Way Orchestre à Cordes - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1.5-2 SKU: CF.FAS19 Full Score and ...(+)
Orchestra String
Orchestra - Grade 1.5-2
SKU: CF.FAS19
Full Score and
Parts. Composed by
Carl Strommen. Edited by
Amy Rosen. Carl Fischer
First Plus String
Orchestra Series. Score
and Parts. With Standard
notation. 8+8+8+5+5+5+2
pages. Carl Fischer Music
#FAS19. Published by Carl
Fischer Music (CF.FAS19).
ISBN 9780825851933.
UPC: 798408051938. 8.5 X
11 inches. Key: G
major.
In the grand
style of the British
March, Highbridge Way
should be played in
a crisp and liquid manner
paying close attention to
the articulation and
dynamic markings. The
mezzo piano in
m. 5 introduces the theme
and slowly builds until
m. 37, where the dynamic
indication is forte. At
m. 45, the dynamic is
mezzo piano, and
we are brought back to
the theme at m. 53, which
begins as piano and
builds to m. 65 and to
the finale. In the
grand style of the
British March,A
Highbridge WayA
should be played in
a crisp and liquid manner
paying close attention to
the articulation and
dynamic markings. TheA
mezzo piano in
m. 5 introduces the theme
and slowly builds until
m. 37, where the dynamic
indication is forte. At
m. 45, the dynamic isA
mezzo piano, and
we are brought back to
the theme at m. 53, which
begins as piano and
builds to m. 65 and to
the finale. In the
grand style of the
British March, Highbridge
Way should be played in a
crisp and liquid manner
paying close attention to
the articulation and
dynamic markings. The
mezzo piano in m. 5
introduces the theme and
slowly builds until m.
37, where the dynamic
indication is forte. At
m. 45, the dynamic is
mezzo piano, and we are
brought back to the theme
at m. 53, which begins as
piano and builds to m. 65
and to the finale. In
the grand style of the
British
March, Highbridge
Way should be played
in a crisp and liquid
manner paying close
attention to the
articulation and dynamic
markings. The mezzo
piano in m. 5 introduces
the theme and slowly
builds until m. 37, where
the dynamic indication is
forte. At m. 45, the
dynamic is mezzo
piano, and we are brought
back to the theme at m.
53, which begins as piano
and builds to m. 65 and
to the finale.
Choral SSAA choir SKU: CF.CM9570 Composed by John Ratledge. Psalms 47 fro...(+)
Choral SSAA choir
SKU:
CF.CM9570
Composed by
John Ratledge. Psalms 47
from the Bible. Jbc.
Performance Score. With
Standard notation. 8
pages. Duration 1 minute,
44 seconds. Carl Fischer
Music #CM9570. Published
by Carl Fischer Music
(CF.CM9570).
ISBN
9781491153581. UPC:
680160911080. 6.75 x 10.5
inches. Key: Bb major.
Latin. Psalms 47 from the
Bible.
Psalm 47
was commissioned by
the Sigma Alpha Iota
Chapter of Hardin Simmons
University (Abilene,
Texas), Suzanne Watts,
conductor, back in 1978.
I was a graduate student
at the time, and the
premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now. In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the people:
(you clap), (you shout),
(you sing) to exemplify
that praise and joy
should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world. Rise up and
claim the power of
JOY!. Psalm 47A
was commissioned by
the Sigma Alpha Iota
Chapter of Hardin Simmons
University (Abilene,
Texas), Suzanne Watts,
conductor, back in 1978.
I was a graduate student
at the time, and the
premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now. In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the people:A
(you clap), (you shout),
(you sing) to exemplify
that praise and joy
should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world. Rise up and
claim the power of
JOY!. Psalm 47 was
commissioned by the Sigma
Alpha Iota Chapter of
Hardin Simmons University
(Abilene, Texas), Suzanne
Watts, conductor, back in
1978. I was a graduate
student at the time, and
the premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now. In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the people:
(you clap), (you shout),
(you sing) to exemplify
that praise and joy
should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world. Rise up and
claim the power of
JOY!. Psalm 47Â was
commissioned by the Sigma
Alpha Iota Chapter of
Hardin Simmons University
(Abilene, Texas), Suzanne
Watts, conductor, back in
1978. I was a graduate
student at the time, and
the premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now.In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the
people:Â (you clap),
(you shout), (you sing)
to exemplify that praise
and joy should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world.Rise up and
claim the power of
JOY!
Cliffhanger Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS34F Composed b...(+)
Orchestra String
Orchestra - Medium
Easy/Medium
SKU:
CF.CAS34F
Composed by
Sean O'Loughlin. SWS.
Carl Fischer Concert
String Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #CAS34F. Published
by Carl Fischer Music
(CF.CAS34F).
ISBN
9780825861062. UPC:
798408061067. 8.5 X 11
inches. Key: E
minor.
Cliffhanger
is a programmatic work
for string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching. Nicely
done!. Cliffhanger is
a programmatic work for
string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday- afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching.The opening
of the piece sets the
scene with danger and
desperation. By m. 6, our
hero is making his way on
horseback to rescue the
fair maiden. This main
melody is developed and
passed around the
ensemble until m. 36, at
which point despair sets
in. The music is rich
with romantic harmonies
and inner lines. Be sure
to bring out these inner
lines to add to the
passion and drama of the
moment. It continues to
build until a thunderous
arrival at m. 49. From
there we return to our
hero, who is now getting
close to the train tracks
to save the fair maiden.
The tension becomes the
highest at m. 61, when we
are still not sure if our
hero will make it in
time. But alas, at m. 68
he swoops in to save the
day and rescue the fair
maiden. Of course, they
live happily ever
after.My hope is that
your ensemble will have
some fun with this style
of music. It was adapted
from an arrangement I
wrote for the new pipe
organ at the Walt Disney
Concert Hall in Los
Angeles. They wanted some
scary train music to show
children how the organ
was used back before
movies had sound. Strings
provide a heightened
sense of drama with this
genre of music.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
by Dean Marshall. For Fiddle. ensemble. Swath Publishing. Fiddle Tunes. Level: I...(+)
by Dean Marshall. For
Fiddle. ensemble. Swath
Publishing. Fiddle Tunes.
Level:
Intermediate-Advanced.
Book/CD Set. Size
8.75x11.75. 72 pages.
Published by Mel Bay
Publications, Inc.
Good work for examinations and recitals by an important British composer. Durati...(+)
Good work for
examinations and recitals
by an important British
composer. Duration c.6'.
AMEB (Australian
Syllabus) 2004. Programme
notes as
follows:
Lennox
Berkeley was born in 1903
and died in 1989. After
reading modern languages
at Oxford he had no
intention of becoming a
composer until he met
Ravel in 1926, who
encouraged him to study
in Paris with Nadia
Boulanger. He stayed in
Paris until 1932,
developing his own
musical language. In
1936, after the death of
his mother, he went to
Barcelona for the
International Society for
Contemporary Music
festival where he met
Benjamin Britten. The two
lived together at Snape
in Suffolk for a while
until the outbreak ofwar,
before Berkeley moved
back to London to work
for the BBC. Here he met
his future wife Freda
Bernstein. He taught at
the Royal Academy of
Music in London from 1946
until 1968, where his
pupils included Richard
Rodney Bennett, Nicholas
Maw and John Tavener,
among others. He was
knighted in 1974.
In early
February 1971 I was
playing in a concert at
St. John's Smith Square,
London, then only
relatively recently
restored as a superb
venue for music. The
programme, which I
believe was being
broadcast, included
Berkeley's Serenade
Op.12. It was a work I
had always enjoyed
playing and was standard
string orchestra
repertoire at the time.
There was initially no
platform at St. John's
and so the audience sat
virtually on top of the
performers. So close were
they on this occasion
that I had to ask for a
little more room in order
to play. At the end of
the piece the orchestra
acknowledged the applause
and the gentleman who I
had all but practically
decapitated with my
over-enthusiastic
playing, stood up and
took a bow. I had been
almost playing in Lennox
Berkeley's lap! The
opportunity was too good
to miss and I wasted
little time in
introducing myself. Mr
Berkeley said that he had
been fascinated by my
playing and asked me to
write to him about a
possible
commission.
Cello (Cello) SKU: HL.49044838 For solo cello. Composed by Thomas ...(+)
Cello (Cello)
SKU:
HL.49044838
For
solo cello. Composed
by Thomas Larcher. This
edition: Saddle
stitching. Sheet music.
String. Vier Seiten is a
response to Ayrton
Senna's fatal car
accident, portrayed in
slow motion, as it was
repeatedly shown on
television at the time.
In this poignant work, a
violent fast section
represents the crash,
followed by a long
epilogue, reflecting the.
Softcover. Composed 1997.
8 pages. Duration 7'.
Schott Music #CB269.
Published by Schott Music
(HL.49044838).
ISBN
9790220134418. UPC:
841886027602.
9.0x12.0x0.067
inches.
Vier Seiten
for violoncello is an
attempt to present an
event that in reality
takes about two seconds
in extreme slow motion,
thus making even the
micromovements visible or
audible beyond the
straight line of
motion.When I composed
the piece, the fatal
accident of Ayrton Senna
came to my mind again and
again - an accident which
was shown on TV in slow
motion again and again
until it became
unbearable. The fast
motion of the car
immediately before the
crash into a concrete
wall, a motion which was
no longer purposeful but
out of control and which
had the car pulled to and
fro and from side to
side, was followed by
that crash. In this
extreme slow motion, it
is no longer shown as a
crash but as the fast
telescoping of carbon
fibre, metal and human
body parts.After this
crash, as a postlude so
to speak, everything
suddenly slowed down,
tyres and automotive
particles floating in the
air, the torso of the
vehicle swinging until
the motion stopped. It
was not until this moment
that I realized that the
whole presentation of the
incident had been
accompanied by paralyzing
silence.- Thomas
Larcher
Vier
Seiten is a response to
Ayrton Senna's fatal car
accident, portrayed in
slow motion, as it was
repeatedly shown on
television at the time.
In this poignant work, a
violent fast section
represents the crash,
followed by a long
epilogue, reflecting the
apparent stillness of the
immediate aftermath.
Urtext. Composed
by Robert Schumann.
Edited by Christian
Rudolf Riedel. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Schumann's last work for
solo instrument and
orchestra was not given
its premiere until 1937.
This new edition is the
first meticulously
prepared Urtext edition
of the score and the
composer's own piano
reduction - from which
Clara played the piece!
Solo concerto; Romantic.
Part. 8 pages. Duration
32'. Breitkopf and
Haertel #OB 5302-27.
Published by Breitkopf
and Haertel
(BR.OB-5302-27).
ISBN
9790004340059. 10 x 12.5
inches.
Between
Beethoven and Brahms, a
long neglected
workSchumann's last work
for solo instrument and
orchestra was not given
its premiere until 1937,
at which time it was also
released in an
editorially inadequate
version. A re-evaluation
of Schumann's late oeuvre
began in the 1980s, in
the wake of which the
missing link between the
concertos of Beethoven
and Brahms (Yehudi
Menuhin) also drew
increasing attention.
Since then, those in the
know have come to
appreciate the work,
whose unique musical and
technical demands
challenge for both
interpreter and
listener.This new edition
of what is perhaps the
most underestimated
masterpiece of the
Romantic era is the first
meticulously prepared
Urtext edition of the
score. Nothing short of
incredible is the fact
that the composer's own
piano reduction from
which Clara Schumann and
Joseph Joachim played the
piece is being published
here for the first time!
Thomas Zehetmair, who has
significantly contributed
to the re-assessment of
the concerto, assumed the
task of providing a sound
technical basis to his
revision of the solo
part.Perhaps this edition
will help stimulate
awareness and
appreciation of this
unjustly forgotten
romantic violin concerto
described by Menuhin as
the missing link between
the concertos by
Beethoven to Brahms.
(John Thomson,
Stringendo)
Schuma
nn's last work for solo
instrument and orchestra
was not given its
premiere until 1937. This
new edition is the first
meticulously prepared
Urtext edition of the
score and the composer's
own piano reduction -
from which Clara played
the piece!