Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
Concert Band Symphonic Band - Grade 4.5 SKU: FJ.B1503S Score Only....(+)
Concert Band Symphonic
Band - Grade 4.5
SKU:
FJ.B1503S
Score
Only. Composed by
Charles Rochester Young.
Concert Band. FJH
Symphonic Band. Meters.
Score. Duration 4:00. The
FJH Music Company Inc
#98-B1503S. Published by
The FJH Music Company Inc
(FJ.B1503S).
English.
This
powerful concert opener
depicts the struggle to
honor one's true life
calling. The pulsating
rhythmic elements
alternate between 6/8 and
3/4, and on several
occasions the two meters
are juxtaposed.
Exhilarating and
extremely compelling,
this work is sure to keep
your listeners on the
edge of their seats!
About FJH
Symphonic
Band
Appro
priate for accomplished
high school, college, and
professional groups.
Includes expanded
instrumentation and
ranges. Grades 4 - 5
Chamber Music Saxophone Quartet SKU: PR.114417130 & Happy Birthday to ...(+)
Chamber Music Saxophone
Quartet
SKU:
PR.114417130
&
Happy Birthday to
Prism. Composed by
Chen Yi. Sws each.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2014.
24+12+12+12+8 pages.
Duration 14 minutes.
Theodore Presser Company
#114-41713. Published by
Theodore Presser Company
(PR.114417130).
ISBN
9781491110409. UPC:
680160626687. 9x12
inches.
A recipient
of the New Music USA 2013
Live Music For Dance
Award commissioning
grant, Not Alone is
inspired by the ancient
Chinese poet Li Bai's
poem Drinking Alone under
the Moon with the Shadow.
The premiere was given on
April 26, 2014 by the
PRISM Quartet with the
Nai-Ni Chen Dance
Company, which
commissioned the work to
celebrate its 25th
Anniversary NYC Season.
From the Program Note by
Matthew Levy (The PRISM
Quartet), Not Alone
(2014) is an
interdisciplinary
work...but it stands
alone in a chamber music
setting. The work spans a
stunning range of
textures, from
introspective solos for
each of the four
saxophones to majestic
hyper-active gestures.
The PRISM Quartet
recorded Not Alone for a
2017 release on XAS
Records titled Paradigm
Lost. But we're excited
for a wider community of
saxophonists to embrace
the work, and share it
with their own audiences.
Not Alone is published
together with Happy
Birthday to PRISM, a
brief miniature that Chen
Yi wrote for the
quartet's 20th
anniversary celebration
in 2004. For advanced
performers.______________
___________Text from the
scanned back cover:NOT
ALONE for Saxophone
QuartetHAPPY BIRTHDAY TO
PRISM for Saxophone
QuartetNot Alone is a
14-minute saxophone
quartet and dance score
inspired by the ancient
Chinese poet Li
Bai’s
“Drinking Alone
under the Moon with the
Shadow.†The
expansively-textured sax
quartet matches the
exploratory and dramatic
movements and gestures in
the dance. NOT ALONE was
commissioned by the
Nai-Ni Chen Dance Company
which premiered the work
in collaboration with the
PRISM Quartet. Also
included in this
publication is Chen
Yi’s fascinating
take on “Happy
Birthday to You,â€
composed in celebration
of Prism’s 25th
anniversary season. A
recipient of the New
Music USA 2013 Live Music
For Dance Award
commissioning grant, Not
Alone is inspiredby the
ancient Chinese poet Li
Bai’s poem
“Drinking Alone
under the Moon with the
Shadow.†The
premierewas given on
April 26, 2014 by the
PRISM Quartet with the
Nai-Ni Chen Dance
Company, which
commissioned thework to
celebrate its 25th
Anniversary NYC
Season. Program Note
by composer Chen YiThe
original inspiration for
this work for both the
choreographer and the
composer came from the
Tang Dynasty poem - Alone
Under the Moon by Li Bai.
The poem describes the
poet being alone in a
garden. The moon and his
shadow became his
companions that night.
The choreographer brings
this idea to modern life
in an urban setting. She
created a series of
“mindscapesâ€
which are the result of
the exploration of the
different mental and
physical states of being
alone.Through
self-examination, the
choreographer raises the
question: are we ever
really alone? Our
physical being may be
standing by itself, but
what about our
introspective self? When
we are still, we let our
thoughts pass by like
flowing water. If we
could engage with our
shadows, what would it be
like?Program Note by
Matthew Levy, The PRISM
QuartetThe PRISM Quartet
has commissioned a great
many composers since our
founding days in 1984.
Chen Yi is among ahandful
of our very favorites,
and one to whom
we’ve returned
time and time again. Her
music is powerful,
expansive,intimate, and
draws connections between
Eastern and Western,
ancient and modern
traditions in a voice all
her own.Chen Yi has
written or adapted four
works for the PRISM
Quartet. She penned a
wonderful miniature
called HappyBirth day to
PRISM to celebrate the
ensemble’s 20th
anniversary back in 2004
(Dedication, Innova
Recordings).We
subsequently commissioned
her to compose Septet
(2008) for Erhu, Pipa,
Percussion, and Saxophone
Quartet(2008), premiered
and recorded with the New
York ensemble Music From
China (Antiphony, Innova
Recordings 2010).In 2015,
the PRISM Quartet
performed and recorded
(XAS Records) a new
version of her saxophone
quartet concerto,BA YIN,
with the University of
Missouri-Kansas City Wind
Ensemble under the baton
of Steven Davis
(originally writtenfor
the Rascher Quartet and
scored for saxophones and
string
orchestra.).Finally, Not
Alone (2014) is an
interdisciplinary work
written for the Nai-Ni
Chen Dance Company with
the PRISMQuartet, but it
stands alone in a chamber
music setting. The work
spans a stunning range of
textures, from
introspectivesolos for
each of the four
saxophones to majestic
hyper-active gestures.
The PRISM Quartet
recorded Not Alonefor a
2017 release on XAS
Records titled Paradigm
Lost. But we’re
excited for a wider
community of saxophonists
toembrace the work, and
share it with their own
audiences.In his liner
notes for the recording,
WNYC’s John
Schaefer writes:
“As with much of
her music, Chen employs
percussiveeffects and
glissandi; in Chinese
music these are not
considered
“extended
techniques†or
special effects, but
animportant part of the
performer’s
arsenal. Here, they help
create the twilit mood of
the opening moments. The
piecesoon becomes more
dramatic, suggesting the
arrival of the
drinker’s
companions (real or
imagined) and his or
herincreasingly garrulous
outbursts. Passages of
consonance and discord
can easily be heard as
companionable singingand
bouts of drunken
argument. The piece
bustles along on a kind
of restless energy,
until, finally, that
restlessnesssubsides,
giving way to a gently
humorous ending where a
short falling phrase
signals the drinker
falling
asleep.â€.
Celebrate His Name this Christmas. Composed by Geron Davis, Dave Clark an...(+)
Celebrate His Name
this Christmas.
Composed by Geron Davis,
Dave Clark and Tony Wood.
Arranged by David Sloan.
Adult Musical. Choral
score. Duration 36
minutes. Published by
Word Music
(WD.080689554179).
Orchestra SKU: BT.YKM570369270 Composed by Robert Saxton. Score Only. Com...(+)
Orchestra
SKU:
BT.YKM570369270
Composed by Robert
Saxton. Score Only.
Composed 2021. 70 pages.
University of York Music
Press #YKM570369270.
Published by University
of York Music Press
(BT.YKM570369270).
A Hymn to the
Thames was commissioned
by James Turnbull and the
Music Director of the St
Paul’s Sinfonia, Andrew
Morley. It was begun in
2019 and completed early
in 2020. There are four
movements played without
a break, which follow the
Thames from its Cotswold
source to the North Sea.
As the first performance
took place in St
ALfege’s Church,
Greenwich, this seemed
appropriate. The solo
oboe represents both a
wanderer along the river
path and the spirit of
the river. The pitch
centres of the movements
spell out the musical
letters of the river
(tHAmES—B natural, A, E
and E flat) so that the
river’s name is
projected across the
whole work. In addition,
the musical letters found
in James Turnbull, Andrew
Morley and my wife,
Teresa Cahill ( who was
born in Maidenhead and
brought up by the river
in Rotherhithe) are
entwined in various
guises. The first
movement grows from the
depths, the soloist
entering with
fanfare-like gestures,
followed by lyrical music
and breaks into a dance
as the river gathers
momentum. The third
movement is slow and
sustained and
geographically the Thames
flows through Oxford. The
music is based on the
well-known In Nomine
‘head motif’ from the
Gloria tibi Trinitas Mass
by the early Tudor
composer, John Taverner,
who was the first
Director of Music at
Christ Church, Oxford.
The orchestra provides a
screen or veil above
which the solo oboe
dreams and ruminates.
This leads directly into
the fourth and final
movement which begins in
the depths once more,
interrupting the oboe’s
held note from the end of
the third movement. The
waters’ increasing
intensity and power are
represented throughout by
a moto perpetuo of quick,
steady semiquavers. Near
the close, the woodwind
play O Nata Lux by Thomas
Tallis, the great Tudor
composer who, with his
wife Joan, is buried in
St Alfege’s. Beneath
this, the lower strings
continue the fast
semiquaver movement of
the river and, above, the
violins are heard as a
halo of harmonics. At the
close, the oboe rises,
opening out to the
future, and celebrating
its voyage, while the
orchestra fades as the
river meets the sea. A
Hymn to the Thames lasts
approximately 17
minutes.
Composed by Taylor Scott Davis. Multi-Movement/Large Choral Work. Christmas, ...(+)
Composed by Taylor Scott
Davis.
Multi-Movement/Large
Choral Work. Christmas,
Advent, 21st Century.
Choral
score. MorningStar Music
Publishers #70-015.
Published
by MorningStar Music
Publishers
Into the Mist Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
For Band. Composed by Sean O'Loughlin. This edition: complete set. Carl F...(+)
For Band. Composed
by Sean O'Loughlin. This
edition: complete set.
Carl Fischer First Plus
Performance Series.
Classical. Score and Set
of Parts. With Standard
notation. 142 pages. Carl
Fischer #FPS0024.
Published by Carl Fischer
(CF.FPS24).
Choral SATB choir SKU: CF.CMF1 A Choral Collection for All Seasons of ...(+)
Choral SATB choir
SKU:
CF.CMF1
A Choral
Collection for All
Seasons of the Church
Year. Composed by
Anonymous, Claire
Cloninger, Gary
Hallquist, and Ron
Harris. Edited by Cherry
Tadlock. Arranged by Gary
Hallquist. SWS. Choral.
Piano reduction/vocal
score. With Standard
notation. Carl Fischer
Music #CMF1. Published by
Carl Fischer Music
(CF.CMF1).
ISBN
9780825857768. UPC:
798408057763. 6.75 X 10.5
inches. Text: Keith
Hibbs; Claire Cloninger;
Cherry Tadlock; Ron
Harris. Claire Cloninger,
Ron Harris, Cherry
Tadlock, Keith
Hibbs.
This
collection offers both
seasonal and general
worship anthems from one
of America’s
premiere church writers.
The anthems in this
collection are perfectly
suited for praise and
worship and are sure to
become an integral part
of church choir programs.
Seven anthems total,
Hallquist has skillfully
written these beautiful
pieces with care and
thoughtfulness; a style
that has been one of his
trademarks throughout the
years. A must-have for
every church choir!
Faithful to the Vision
(Anniversary/Dedication),
I Often Dance (General
Praise/Worship), In Times
Like These
(Encouragement/Easter
Resurrection), Let Us
Worship and Bow Down
(Call to Worship), On a
Hillside in Bethlehem
(Christmas), They Could
Not (Easter) and We Are
His Love
(Missions/Ministry).
Music of the Spheres Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Anglo Music
Concert Band/Harmonie - Grade 6 SKU: BT.AMP-028-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.AMP-028-140
Composed by Philip
Sparke. Elite Series.
Concert Piece. Score
Only. Composed 2005. 68
pages. Anglo Music Press
#AMP 028-140. Published
by Anglo Music Press
(BT.AMP-028-140).
English-German-French-
Dutch.
The piece
reflects the composer's
fascination with the
origins of the universe
and deep space in
general. The title comes
from a theory, formulated
by Pythagoras, that the
cosmos was ruled by the
same laws he had
discovered that govern
the ratios of note
frequencies of the
musical scale.
(‘Harmonia’
in Ancient Greek, which
means scale or tuning
rather than harmony -
Greek music was
monophonic). He also
believed that these
ratios corresponded to
the distances of the six
known planets from the
sun and that the planets
each produced a musical
note which combined to
weave a continuous
heavenly melody (which,
unfortunately, we humans
cannot hear). In this
work, these six notesform
the basis of the sections
MUSIC OF THE SPHERES and
HARMONIA. The pieces
opens with a horn solo
called t = 0, a name
given by some scientists
to the moment of the Big
Bang when time and space
were created, and this is
followed by a depiction
of the BIG BANG itself,
as the entire universe
bursts out from a single
point. A slower section
follows called THE LONELY
PLANET which is a
meditation on the
incredible and unlikely
set of circumstances
which led to the creation
of the Earth as a planet
that can support life,
and the constant search
for other civilisations
elsewhere in the
universe. ASTEROIDS AND
SHOOTING STARS depicts
both the benign and
dangerous objects that
are flying through space
and which constantly
threaten our planet, and
the piece ends with THE
UNKNOWN, leaving in
question whether our
continually expanding
exploration of the
universe will eventually
lead to enlightenment or
destruction.
Dit
werk weerspiegelt de
fascinatie van de
componist voor het
heelal. Het begint met
een hoornsolo met de naam
t = 0, waarmee
sommige wetenschappers de
oerknal aanduiden. Dan
volgt een weergave van de
oerknal zelf. Het
volgendegedeelte, The
Lonely Planet, is een
meditatie over het
ongelooflijke samenspel
van omstandigheden dat
leidde tot het ontstaan
van de Aarde.
Asteroids and Shooting
Stars beschrijft
objecten in de ruimte.
Het werkeindigt met
The Unknown,
waarmee we in het
ongewisse blijven over de
gevolgen van onze verdere
verkenning van het
universum. In 2005 won
Philip Sparke met
Music of the
Spheres de National
Band Association/William
D.Revelli Memorial Band
Composition
Contest.
Dieses
Werk handelt vom Weltall
und unserem Platz im
Universum, auf dem
Weltbild von Pythagoras
basierend. Am einfachsten
lässt sich diese
außergewöhnliche
Komposition wohl als
Filmmusik ähnliches
Stück beschreiben ?
Musik zu einem
Science-Fiction-Film
eines Ripley Scott oder
Steven Spielberg oder
auch Musik, wie sie ein
John Williams oder Danny
Elfman schreiben
würde: absolut
stimmungsvoll, brillant
instrumentiert mit
Klangfarben, Strukturen,
Effekten und Timbres,
gemischt mit
fließenden
musikalischen Linien, die
die Substanz des Themas
auf den Punkt treffen.
Dieses atemberaubende
neue Stück hebt Ihr
Blasorchester auf ein
höheres Niveau, sowohl
im technischen als
auchmusikalischen Sinn.
Music of the
Spheres evidenza il
fascino che le origini
dell’universo
esercitano su Philip
Sparke. Il titolo
proviene da una teoria
del matematico greco
Pitagora, secondo la
quale il cosmo è retto
dalle stesse leggi che
governano i rapporti di
frequenza tra le note
della scala musicale.
Questa composizione
inizia con un assolo di
corno chiamato t = 0,
nozione che definisce il
momento del big-bang.
The Lonely Planet
(Il pianeta solitario)
è una meditazione
sulle circostanze che
hanno portato alla
creazione della terra.
Asteroids and Shooting
Stars (Asteroidi e
Stelle cadenti) descrive
i molteplici oggetti che
si muovono nello spazio e
che rappresentano
unrischio per il nostro
pianeta. Le battute
finali portano verso
l’ignoto (The
Unknown) sollevando
una domanda la cui
risposta resta in
sospeso: la nostra
continua avanzata
nell’esplorazione
dell’Universo
porter un giorno alla
scoperta o alla
distruzione?
Chamber Music Flute 1, Flute 2, Flute 3, Flute 4, Piano SKU: PR.114419580 ...(+)
Chamber Music Flute 1,
Flute 2, Flute 3, Flute
4, Piano
SKU:
PR.114419580
Composed
by Gary Schocker. Sws.
Full score. 24 8 8 8 8
pages. Duration 12
minutes. Theodore Presser
Company #114-41958.
Published by Theodore
Presser Company
(PR.114419580).
ISBN
9781491131510. UPC:
680160677856. 9 x 12
inches.
SEAFARERS
for Four Flutes and
PianoCommissioned by the
Taiwan Joueurs de
Flûte Ensemble,
SEAFARERS is a gorgeously
fluid journey into the
rarely-heard sonority of
4 flutes with piano. The
nautically-themed
movements of SEAFARERS
are titled Bon Voyage,
Mermaids, and
Pirates.
Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen, Chri...(+)
Composed by Franz Joseph
Haydn (1732-1809). Edited
by Andreas Friesenhagen,
Christin Heitmann. For
orchestra. This edition:
Urtext edition. Stapled.
Score. Text Language:
German/English. Hob.
I:48. Duration 27
minutes. Published by
Baerenreiter Verlag
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?
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?
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?
Composed by Brazilian
Folk Song. Arranged by
Eduardo Lakschevitz Elisa
Dekaney. Fold.
Performance Score. 12
pages. Duration 2
minutes, 28 seconds. Carl
Fischer Music #CM9602.
Published by Carl Fischer
Music (CF.CM9602).
ISBN 9781491154243.
UPC: 680160912742. 6.875
x 10.5 inches. Key: Gb
major. Portuguese.
Brazilian Folk
Song.
Partitions De Groupes [Partition] - Intermédiaire Hal Leonard
Performed by Chicago. Format: transcribed score (Authentic transcriptions of all...(+)
Performed by Chicago.
Format: transcribed score
(Authentic transcriptions
of all instruments). With
transcribed parts. Pop
rock and soft rock.
Series: Hal Leonard
Transcribed Scores. 136
pages. 9x12 inches.
Published by Hal Leonard.
Vocal Score. By Benjamin Britten. Arranged by Arthur Oldham. (Vocal Score). Boo...(+)
Vocal Score. By Benjamin
Britten. Arranged by
Arthur Oldham. (Vocal
Score). Boosey and Hawkes
Large Choral. Book only.
Size 7.25x10.25 inches.
88 pages. Published by
Boosey and Hawkes.
Tenor & String Quartet SKU: PE.EP72822 Composed by Jonathan Dove. Voice(s...(+)
Tenor & String Quartet
SKU: PE.EP72822
Composed by Jonathan
Dove. Voice(s) & Various
Instruments. Edition
Peters. Living Composer.
Score and Part(s). 164
pages. Duration 00:30:00.
Edition Peters
#98-EP72822. Published by
Edition Peters
(PE.EP72822).
ISBN
9790577011769. 232 x
303mm inches.
English.
I have
only visited Damascus
once, twenty years ago,
on the way to
Palmyra. I had a
purpose (I was writing
music for a play about
Palmyra’s Queen
Zenobia) but essentially
I was a tourist.
Like any visitor, I was
thrilled to step out of
the noisy modern city
into the magical ancient
world of the walled Old
City, its vibrant souk
leading to the
magnificent mosque, and a
labyrinth of winding,
narrow streets filled
with the smell of
unleavened
bread.
In Palmyra,
I was met with
extraordinary kindness
everywhere. On one
occasion, a little
Bedouin boy noticed that
I was risking sunstroke
wandering bare-headed
among the spectacular
ruins: he showed me how
to tie a turban, then
took me to have tea with
his family in their
tent.
Since then, I
have watched helplessly
as these places of wonder
have been devastated and
their inhabitants
scattered and
killed. When the
Sacconi Quartet suggested
that I might choose a
Syrian poet for our
collaboration, I welcomed
the idea.
I
searched for a long time
to find a contemporary
poet whose work might
gain from any music I
could imagine. I
felt it was important to
find first-hand accounts
of the Syrian experience
– but, of course, I
was always reading them
in translation. In
an anthology
called Syria
Speaks, I was
astonished to read
something that looked
like prose, but was full
of poetry. It was
Anne-Marie
McManus’s fine
translation of Ali
Safar’s A
Black Cloud in a Leaden
White Sky
– an
eloquent, thoughtful,
contained yet vivid
account of life in a
war-torn country, all the
more moving for its
restraint.
In
setting these words, I
have not attempted to
imitate Syrian
music. However,
there is what might be
called a linguistic
accommodation in my
choice of scale, or
mode. Several
movements are in a mode
that I first discovered
while writing a cantata
commemorating the First
World War: it has a
tuning that I associate
with war, its violence
and desolation.
This eight-note
mode is similar to scales
found in Syrian
music. I did not
choose it in the
abstract: it emerged from
the harmonies I was
exploring in the earlier
work, and emerged again
as I was looking for the
right musical colours to
set Ali Safar’s
words. In this
work, its Arabic aspect
is more prominent. -
Jonathan
Dove
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