Chamber Music Horn Trio SKU: PR.144406610 The Sacred Oak Tree. Com...(+)
Chamber Music Horn Trio
SKU: PR.144406610
The Sacred Oak
Tree. Composed by
Robert Martin. Premiered
by The Golden Horns;
Music at the Mercantile
Chamber Music Series,
NYC. Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2015. 8+4+4+2
pages. Duration 4:30.
Theodore Presser Company
#144-40661. Published by
Theodore Presser Company
(PR.144406610).
UPC:
680160634798. 9 x 12
inches.
Martin
considers the heritage
and lifestyle of the
Vikings, considered a
threat by many, but a
fascinating culture of
epic proportions.
Imagining the voice of
Viking music, Martin has
created a series of ten
short (4-5' each) trios,
each describing a scene
from Viking life. These
trios serve well as study
pieces in horn ensemble
performance, and can
together provide an
evening's entertainment.
For intermediate to
advanced performers.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Choir - Medium / medium acc. SKU: JK.19970 Composed by Janice Kapp Perry....(+)
Choir - Medium / medium
acc.
SKU: JK.19970
Composed by Janice Kapp
Perry. Difficulty Medium.
Christian, Inspirational.
Jackman Music Corporation
#19970. Published by
Jackman Music Corporation
(JK.19970).
Hymn singing is
an important part of our
heritage as members of
The Church of Jesus
Christ of Latter-day
Saints. Elder Boyd K.
Packer, in October 1991
General Conference, said:
If we will listen,
[hymns] are teaching the
gospel, for the hymns of
the Restoration are, in
fact, a course in
doctrine! In his landmark
speech entitled The Arts
and the Spirit of the
Lord, Elder Packer
stated:
Our hymns
speak the truth as far as
they go. They could speak
more of it if we had more
of them specifically
teaching the principles
of the restored gospel of
Jesus Christ. If I had my
way there would be many
new hymns with lyrics
near scriptural in their
power, bonded to music
that would inspire people
to worship. Think about
how much we could be
helped by another
inspired anthem or hymn
of the Restoration. (BYU,
February 1,
1976)
In response
to Elder Packer's
invitation, we have been
writing new hymns during
the past decade based on
favorite general
conference sermons. Our
hope was that once the
central theme of each
address was set to music
it might serve as another
witness of the inspired
message, and would be
sung in homes, in choirs,
and in conjunction with
the Teachings For Our
Time lessons in Relief
Society and Priesthood
meetings.
Janice
Kapp Perry David B.
Larsen
This
songbook contains a
Topical Index
The
hymns offered by Prime
Recordings Inc. are
neither made, provided,
approved nor endorsed by
Intellectual Reserve,
Inc., The Church of Jesus
Christ of Latter-day
Saints or its leaders.
Any content or opinions
expressed, implied or
included in, or with this
book from Prime
Recordings Inc., are
solely those of David B.
Larsen and Janice Kapp
Perry, and not those of
Intellectual Reserve,
Inc., The Church of Jesus
Christ of Latter-day
Saints or its
leaders. *** Some
Janice Kapp Perry
products may require a
few days additional
shipping time. Thank
you!
4 Clarinets (3 Clarinets
in B-flat & Bass
Clarinet)
SKU:
AP.1-ADV8406
For
Clarinet Quartet.
Composed by Mike Curtis.
Quartet; Solo Small
Ensembles; Woodwind -
Clarinet Quartet. Advance
Music. Form: Dance. Folk;
Jewish Heritage; Wedding;
World. Score and Part(s).
Advance Music
#01-ADV8406. Published by
Advance Music
(AP.1-ADV8406).
UPC:
805095084061.
English.
A Klezmer
Wedding by Mike Curtis is
a set of four dances,
newly-composed but based
on traditional models.
The Doina is an
expressive chant for
three successive
soloists; it twists and
turns with the wailing
lament of a shepherd's
pipe. Next follows the
Hora, a slow Rumanian
dance in three with a
mood that reflects the
wedding's solemn vows. A
Chusidl, with a moderate
speed and bouncy rhythms,
gets the party to the
dance floor. The
concluding Freylach
(happy, but still in a
minor key) takes the
bride, groom, and guests
to the edge of
frenzy.
A Klezmer Wedding Quatuor à cordes: 2 violons, alto, violoncelle Advance Music
SKU: AP.1-ADV6401 For String Quartet. Composed by Mike Curtis. Qua...(+)
SKU: AP.1-ADV6401
For String
Quartet. Composed by
Mike Curtis. Quartet;
Solo Small Ensembles;
String Quartet. Advance
Music. Form: Dance.
Jewish Heritage; Wedding.
Score and Part(s).
Advance Music
#01-ADV6401. Published by
Advance Music
(AP.1-ADV6401).
UPC:
805095064018.
English.
A Klezmer
Wedding is a set of four
dances, newly-composed
but based on traditional
models. The Doina is an
expressive chant for
three successive
soloists; it twists and
turns with the wailing
lament of a shepherd's
pipe. Next follows the
Hora, a slow Rumanian
dance in three with a
mood that reflects the
wedding's solemn vows. A
Chusidl, with a moderate
speed and bouncy rhythms,
gets the party to the
dance floor. The
concluding Freylach
(happy, but still in a
minor key!) takes the
bride, groom, and guests
to the edge of
frenzy.
A Klezmer Wedding Quatuor de Clarinettes: 4 clarinettes Advance Music
4 Clarinets with Opt. Strings SKU: AP.1-ADV40023 For Quartet with Opt....(+)
4 Clarinets with Opt.
Strings
SKU:
AP.1-ADV40023
For
Quartet with Opt. String
Accompaniment.
Composed by Mike Curtis.
Quartet; Solo Small
Ensembles; Woodwind -
Clarinet Quartet. Advance
Music. Form: Dance. Folk;
Jewish Heritage; Wedding;
World. Score. Advance
Music #01-ADV40023.
Published by Advance
Music (AP.1-ADV40023).
UPC: 805095400236.
English.
A Klezmer
Wedding is a set of four
dances, newly composed
but based on traditional
models. The Doina is an
expressive chant for
three successive
soloists; it twists and
turns with the wailing
lament of a shepherd's
pipe. Next follows the
Hora, a slow Rumanian
dance in three with a
mood that reflects the
wedding's solemn vows. A
Chusidl, with a moderate
speed and bouncy rhythms,
gets the party to the
dance floor. The
concluding Freylach
(happy, but still in a
minor key!) takes the
bride, groom, and guests
to the edge of frenzy.
Arranged for four
clarinets with optional
strings. Compatible with
the following
arrangements: item
#01-ADV6401 (string
quartet), item
#01-ADV8405 (woodwind
quartet), and item
#01-ADV8406 (clarinet
quartet).
Titles
include: Doina * Hora *
Chusidl * Freylach.
4 Saxophones SATBar SKU: AP.1-ADV7603 For SATBar Saxophone Quartet...(+)
4 Saxophones SATBar
SKU: AP.1-ADV7603
For SATBar Saxophone
Quartet. Composed by
Mike Curtis. Quartet;
Solo Small Ensembles;
Woodwind - Saxophone
Quartet. Advance Music.
Form: Dance. Jewish
Heritage; Wedding. Score
and Part(s). Advance
Music #01-ADV7603.
Published by Advance
Music (AP.1-ADV7603).
UPC: 805095076035.
English.
A Klezmer
Wedding is a set of four
dances, newly-composed
but based on traditional
models. The Doina is an
expressive chant for
three successive
soloists; it twists and
turns with the wailing
lament of a shepherd's
pipe. Next follows the
Hora, a slow Rumanian
dance in three with a
mood that reflects the
wedding's solemn vows. A
Chusidl, with a moderate
speed and bouncy rhythms,
gets the party to the
dance floor. The
concluding Freylach
(happy, but still in a
minor key!) takes the
bride, groom, and guests
to the edge of frenzy.