((1932) SATB and Piano, Complete Edition). By Benjamin Britten (1913-1976). For ...(+)
((1932) SATB and Piano,
Complete Edition). By
Benjamin Britten
(1913-1976). For Choral
(SATB). BH Secular
Choral. 24 pages. Boosey
and Hawkes #M051481941.
Published by Boosey and
Hawkes
(For SATB Chorus, A Cappella). By Yi Chen. For SATB choir, Piano (for rehearsal ...(+)
(For SATB Chorus, A
Cappella). By Yi Chen.
For SATB choir, Piano
(for rehearsal only).
Choral music. Octavo.
Standard notation. 12
pages. Duration 5
minutes. Published by
Theodore Presser Company
(Based on the Etudes of Franz Whilhelm Ferling). By John Walker, Franz Wilhelm F...(+)
(Based on the Etudes of
Franz Whilhelm Ferling).
By John Walker, Franz
Wilhelm Ferling. Edited
by Amy Porter. Arranged
by Cyrille Rose. For
flute and piano. Carl
Fischer Classic Studies.
Book and CD. 44 pages.
Published by Carl Fischer
Choral SATB choir, piano SKU: PR.362033390 The Fugitives. Composed...(+)
Choral SATB choir, piano
SKU: PR.362033390
The Fugitives.
Composed by Samuel Adler.
Classical. Part. With
Standard notation.
Duration 2:45. Theodore
Presser Company
#362-03339. Published by
Theodore Presser Company
(PR.362033390).
UPC:
680160059355.
Two
Shelley Songs were
composed in 1981 on a
commission from Ithaca
College and published by
Elkan-Vogel, Inc. in the
Ithaca College Choral
Series in 1982. The two
poems by Shelley used
here are To- and The
Fugitives. Both of these
pieces, published
separately, are scored
for mixed chorus with
piano accompaniment. In
order to perform them
well, an excellent
pianist is essential, for
the accompaniment to the
second poem The Fugitives
is quite difficult,
though quite pianistic.
The style of the first
poem is in a somewhat
romantic idiom while the
second contrasts it with
rather wild harmonic
writing utilizing large
skips, clusters and other
dissonant chordal
devices. Great care is
taken throughout to make
these difficult sounding
portions as easy as
possible to perform by
taking great care of the
voice leadings. The two
pieces should be done as
a pair, but could
conceivably be done
separately.
Choral SATB choir, piano SKU: CF.CM9713 Composed by Jacob Narverud. 16 pa...(+)
Choral SATB choir, piano
SKU: CF.CM9713
Composed by Jacob
Narverud. 16 pages.
Duration 4:01. Carl
Fischer Music #CM9713.
Published by Carl Fischer
Music (CF.CM9713).
ISBN 9781491160084.
UPC: 680160918683. Key: G
major. English. Robert
Bode. Original.
The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering support.
Performance Notes This
lighthearted piece is a
great way to bring
multiple choirs together
in harmony. It may be
sung by a single SATB
choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs: Rehearsal Letters
A to B: Elementary choir
only (two-part, Soprano,
Alto) Rehearsal Letter B:
add Middle Level Soprano,
Alto with Elementary
choir Rehearsal Letter C:
Middle Level choir only
Rehearsal Letter D: High
School choir only
Rehearsal Letter E to the
end: Everyone! Song of
the Sound: Running on the
beach, digging in the
sand, Seaweed in my toes,
bucket in my hand. When
I'm at the shore, way
above the rest, These are
all the things that I
love the best. Skipping
like a stone on the
water, diving deep in the
silvery foam, Swimming
far where the land cannot
hold us, where the
lighthouse calls us home.
Flying free above the
marshes, soaring high
above the sea, Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing shore:
Where the gentle breezes
whisper and the mighty
breakers roar. We will
look to the shining
ocean, to the East, where
the new day dawned: We
will sing a song of the
edge of the world and the
waiting sky beyond. -Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019) About
the Composer: Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.com YouTube
& Spotify:
@jacobnarverud. The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering
support.Performance
NotesThis lighthearted
piece is a great way to
bring multiple choirs
together in harmony. It
may be sung by a single
SATB choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs:Rehearsal Letters
AÂ to B: Elementary
choir only (two-part,
Soprano, Alto)Rehearsal
Letter B: add Middle
Level Soprano, Alto with
Elementary choirRehearsal
Letter C: Middle
Level choir onlyRehearsal
Letter D: High School
choir onlyRehearsal
Letter E to the end:
Everyone!Song of the
Sound:Running on the
beach, digging in the
sand,Seaweed in my toes,
bucket in my hand.When
I'm at the shore, way
above the rest,These are
all the things that I
love the
best. Skipping like a
stone on the water,
diving deep in the
silvery foam,Swimming far
where the land cannot
hold us, where the
lighthouse calls us
home.Flying free above
the marshes, soaring high
above the sea,Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing
shore:Where the gentle
breezes whisper and the
mighty breakers roar.We
will look to the shining
ocean, to the East, where
the new day dawned:We
will sing a song of the
edge of the world and the
waiting sky beyond.-Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019)About
the Composer:Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.comÂ
YouTube & Spotify:
@jacobnarverud.
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5
SKU:
FA.MFCD017B
By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B).
8.27 x
11.69
inches.
Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher.
Piano seul [Partition + CD] - Débutant Alfred Publishing
The new, easy and fun way to teach yourself to play. Willard A. Palmer and Morto...(+)
The new, easy and fun way
to teach yourself to
play. Willard A. Palmer
and Morton Manus. For
Piano. Piano Method. Book
and CD. 192 pages.
Published by Alfred
Publishing.
Piano seul [Partition + CD] - Débutant Alfred Publishing
Alfred's Basic Adult Piano Course Lesson Book, Book 1 by Willard A. Palmer, Mort...(+)
Alfred's Basic Adult
Piano Course Lesson Book,
Book 1 by Willard A.
Palmer, Morton Manus, and
Amanda Vick Lethco. For
Piano.
Method/Instruction; Piano
- Alfred's Basic Adult
Piano Course. Alfred's
Basic Adult Piano Course.
Book and CD. 112 pages.
Published by Alfred Music
Publishing
Piano and orchestra SKU: FG.55011-372-5 Composed by Matthew Whittall. Stu...(+)
Piano and orchestra
SKU:
FG.55011-372-5
Composed by Matthew
Whittall. Study score.
Fennica Gehrman
#55011-372-5. Published
by Fennica Gehrman
(FG.55011-372-5).
ISBN
9790550113725.
Imag
es of the sea figure
prominently throughout my
life and memories: from
holidays on the Atlantic
coast during my Canadian
childhood to my current
Baltic home, and the
imagined, only later
experienced Mediterranean
of my ancestral heritage.
As an immigrant (son of
an immigrant) bound to
two northern countries,
the sea is emblematic of
my twin homelands, from
the expanses of water
surrounding them to those
separating them. A Mari
usque ad Mare. The sea is
also an enduring image of
the unknown, of expanses
unexplored, of the raw
power of nature and, for
too many currently, of
terror holding a hope of
refuge - or the pain of
loss. Such disparate
ideas were captured for
me in the seascapes of
the New York painter
MaryBeth Thielhelm, whom
I met in 2008 during a
residency on the Gulf of
Mexico. Her vast,
abstract, nearly
monochromatic depictions
of imaginary seas in
wildly varying moods were
the catalyst for a
concerto where the piano
is frequently far from a
hero battling a
collective, but rather
acts as a channel for
elemental forces surging
up from the orchestra,
floating - sometimes
barely so - on its
constantly shifting
surface. There are few
themes to speak of,
beyond a handful of
iconic ideas that
periodically cycle
upward. Rather, the
piano's material is
largely an ornamentation
of the more primal
rhythmic and harmonic
impulses from the
orchestra below - a
poetic interpretation, if
you will, of the more
immediate experience of
facing the vastness of
some unknown body of
water. The title
Nameless Seas is borrowed
from one of Thielhelm's
exhibitions, as are those
of the four movements,
which are bridged
together into two halves
of roughly equal weight -
one rhapsodic and free,
the other more
single-minded and direct,
separated only by a short
breath. The opening
movement, Nocturne, is
predominantly calm, if
brooding, darkness and
light alternating
throughout. Lyrical
arabesques sparkle over
gently lapping
cross-currents in the
strings and mirrored
timpani, the piano's full
power only rarely
deployed. The waves
gradually build, drawing
in the full orchestra for
a meeting of forces in
Land and Sea, a brighter,
more warmly lyrical scene
that unfolds in series of
dreamlike, sometimes even
nostalgic visions, which
for me carry strong
memories of sitting on
rocks above surging
Atlantic waves. The third
movement, Wake, is a
fast, perpetual-motion
texture of glinting,
darting rhythms and
sudden shafts of light,
with a prominent part for
the steel drums, limning
the piano's quicksilver
figurations. An ecstatic
climax crashes into a
solo cadenza that grows
progressively calmer and
more introspective rather
than virtuosic. Much of
the tension finally
releases into Unclaimed
Waters, a drifting,
meditative seascape in
which the piano is
progressively engulfed by
a series of ever-taller
waves, ultimately
dissolving into a
tolling, rippling
continuum of sound.
It has been a great
privilege to realize such
a long-held dream as this
piece, and to write it
for not one, but two
great pianists.
Risto-Matti Marin and
Angela Hewitt, both of
whose friendship and
support have been
unfailing and humbling,
share the dedication.
Nameless Seas was
commissioned by the
PianoEspoo festival and
Canada's National Arts
Centre, with the
premieres in Ottawa and
Helsinki led by Hannu
Lintu and Olari Elts.
Thanks are due also to
the Jenny and Antti
Wihuri fund, whose
generous grant provided
me with much-needed time,
and Escape to Create in
Seaside, Florida, the
source to which I
returned to do a large
part of the work.
Composed by Lloyd Larson. Choral, cantatas. Advent, Christmas. SATB score with ...(+)
Composed by Lloyd Larson.
Choral, cantatas. Advent,
Christmas. SATB score
with performance CD.
Lorenz Publishing Company
#65/2084L. Published by
Lorenz Publishing Company
(LO.65-2084L).
Composed by Lloyd Larson.
Choral, cantatas. Advent,
Christmas. Choral score.
Lorenz Publishing Company
#65/2083L. Published by
Lorenz Publishing Company
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown; Neal Peres Da Co...(+)
Composed by Johannes
Brahms (1833-1897).
Edited by Clive Brown;
Neal Peres Da Costa. For
clarinet and piano. Score
with parts. Opus 120.
Published by Baerenreiter
Verlag
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da C...(+)
Composed by Johannes
Brahms (1833-1897).
Edited by Clive Brown /
Neal Peres Da Costa. For
viola and piano. This
edition: urtext edition.
Paperback. Level 3. Score
with parts. Opus 120.
Published by Baerenreiter
Verlag
Chamber Music Clarinet, Piano, Violin SKU: PR.164002390 Composed by Dan W...(+)
Chamber Music Clarinet,
Piano, Violin
SKU:
PR.164002390
Composed
by Dan Welcher. Set of
Score and Parts. With
Standard notation.
Composed 1995. 26+14+14
pages. Duration 14
minutes. Theodore Presser
Company #164-00239.
Published by Theodore
Presser Company
(PR.164002390).
UPC:
680160038091.
I
became interested in the
work of Plato through my
friend and collaborator,
the writer and
philosopher Paul
Woodruff. Paul's new
translation, with
Alexander Nehamas, of the
Symposium gave me
insights into ancient
Greek ways of thinking
about Love, Beauty, and
Wisdom -- and managed to
keep the earthy, and
often bawdy side of it
all in full view. But
their new translation of
Plato's later dialogue
Phaedrus went even
further: the beauty of
the speeches is
breathtaking, and the
discourse itself is
enough to keep one awake
at night. Basically the
Great Speech of Socrates
in the Phaedrus dialogue
has to do with the place
of Eros in the world, and
with the conflict in the
soul between fleshly
pleasure and philosophic
discovery. I will not
attempt to encapsulate
this brilliant discourse
in a program note:
suffice it to say that
reading it gave rise to
my two-sided work for
clarinet, violin, and
piano, Phaedrus. The
first movement represents
the Philosophic life, and
is thus subtitled
Apollo's Lyre (Invocation
and Hymn). It begins with
an unaccompanied melody
for the clarinet, which
(after a pair of
harp-like flourishes for
the piano, expands into
an accompanied canon. The
voices in the dialogue
(clarinet and violin)
follow each other by a
prescribed number of
beats, but the music is
totally devoid of any
meter at all. The piano,
representing the lyre,
accompanies this lyric
love-feast with repeated
strummed chords. The
canon has three large
sections, and ends with
violin echoing the
unaccompanied clarinet
invocation as the sound
of the lyre fades. The
second movement, called
Dionysus' Dream-Orgy
(Ritual Dance) presents,
after a brief
introduction, another
kind of unmetered music.
Rather than long lyric
flights of philosophic
song, however, this time
we hear a unison dance of
unbridled energy and
sensual transport. The
piece soon forms itself
into a loose arch form,
with contrasting metered
dance sections divided by
the unison unmetered orgy
tune. Midway through the
movement, Apollo's melody
returns from the first
movement, but it is a
temporary reminiscence.
The orgiastic dance
returns, reaches a
climax, and ends with a
stomping of feet. While
Plato asserts that a
proper balance between
lust and reason is
necessary in all men, he
(naturally) gives the nod
to Philosophy as the
better choice in which to
live. Not so in my music:
the two sides are meant
to coexist and to
complement each other. No
sides are taken. Phaedrus
was commissioned of the
Verdehr Trio by Michigan
State University. It is
dedicated to the Vedehr
Trio with great affection
and admiration.
At the Cross Chorale SATB SATB [Octavo] Hope Publishing Company
At the Cross by Ralph E. Hudson. Arranged by Joel Raney. For SATB choir with opt...(+)
At the Cross by Ralph E.
Hudson. Arranged by Joel
Raney. For SATB choir
with optional Oboe and
Cello. Choral music.
General, Lent, Atonement,
Blood, Cross of Christ,
Grace, Love, Mercy,
Sacrifice, Communion,
Sacred. Choral octavo. 12
pages. Published by Hope
Publishing Company
Composed by Andrew D. Gordon. Saddle stitch. Jazz/Piano Instruction. Book/Downlo...(+)
Composed by Andrew D.
Gordon. Saddle stitch.
Jazz/Piano Instruction.
Book/Downloadable
audio/MP3/MIDI Files.
Duration 70 minutes.
Published by ADG
Productions
By Traditional Hymn, Martin Luther After Ambrose Of Milan. Arranged by Richard N...(+)
By Traditional Hymn,
Martin Luther After
Ambrose Of Milan.
Arranged by Richard
Nance. (SATB divisi).
Walton Choral. 12 pages.
Published by Walton
Music.