Love-Free Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA Choir and Piano SKU: CF.CM9706 Composed by Meredith Tompkins. ...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9706
Composed by
Meredith Tompkins. 12
pages. Duration 2:45.
Carl Fischer Music
#CM9706. Published by
Carl Fischer Music
(CF.CM9706).
ISBN
9781491160022. UPC:
680160918621. Key: D
minor. English. Sara
Teasdale, adapted by
Meredith
Tompkins.
Sara
Teasdale was a celebrated
American poet who lived
at the turn of the
twentieth century, known
for her classical style
and pure, openhearted
writing. At the young age
of twenty-three, she
became a published author
and went on to release a
total of eight
award-winning collections
of poetry in her
lifetime. Love-Free is a
reflective poem that
appears in Part I of
Rivers to the Sea,
published in 1915. In the
text, the narrator
experiences a range of
emotions centering around
lost love and the desire
to either separate from
or rekindle it.
Reminiscent of an antique
music box, the text is
paired with a waltz-like
accompaniment in a
lilting 3/4 pattern.
Melodic exploration of
the natural minor scale
is achieved through
mostly step-wise motion
and some carefully
placed, text-painted
leaps ranging from a
minor third to a sixth.
With some unison, SA, and
SSA sections, this piece
can show off the wide
array of colors and
textures available to
treble choirs. Sara
Teasdale was a celebrated
American poet who lived
at the turn of the
twentieth century, known
for her classical style
and pure, openhearted
writing. At the young age
of twenty-three, she
became a published author
and went on to release a
total of eight
award-winning collections
of poetry in her
lifetime. Love-Free is a
reflective poem that
appears in Part I of
Rivers to the Sea,
published in 1915. In the
text, the narrator
experiences a range of
emotions centering around
lost love and the
desire to either separate
from or rekindle it.
Reminiscent of an antique
music box, the text is
paired with a waltz-like
accompaniment in a
lilting 3/4 pattern.
Melodic exploration of
the natural minor scale
is achieved through
mostly step-wise motion
and some carefully
placed, text-painted
leaps ranging from a
minor third to a sixth.
With some unison, SA, and
SSA sections, this piece
can show off the wide
array of colors and
textures available to
treble choirs.
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(A Step-by-Step Guide for Learning to Compose). By Wynn-Anne Rossi. For Piano. B...(+)
(A Step-by-Step Guide for
Learning to Compose). By
Wynn-Anne Rossi. For
Piano. Book; Piano
Supplemental; Piano
Theory Supplement;
Theory. 24 pages.
Published by Alfred Music
Publishing
(100 Hit Songs Excerpted for Successful Auditions Women's Edition Voice and Pian...(+)
(100 Hit Songs Excerpted
for Successful Auditions
Women's Edition Voice and
Piano). By Various.
Edited by Michael
Dansicker. Vocal
Collection. 184 pages.
Published by Hal Leonard
Chamber Music SKU: PR.16400213S Composed by Dan Welcher. Spiral. Full sco...(+)
Chamber Music
SKU:
PR.16400213S
Composed
by Dan Welcher. Spiral.
Full score. With Standard
notation. 1+37 pages.
Duration 11 minutes.
Theodore Presser Company
#164-00213S. Published by
Theodore Presser Company
(PR.16400213S).
UPC:
680160037636. 8.5 x 11
Landscape
inches.
The unusual
combination of cello,
percussion and piano
seems more incongruous
than it actually sounds.
When I first heard the
ensemble Aequalis, in a
full evening program I
was absolutely astonished
at the combination of
lyricism, pulse, and
color. Something about
the mix causes the cello
to sound marimba-like,
the vibraphone to imitate
the cello's harmonics,
and the piano to become a
kind of proto-orchestra
of colors and effects.
Tsunami was
written for Aequalis in
the summer and fall of
1991 with the assistance
of a grant from Chamber
Music America. The title,
the Japanese word for
tidal wave (which is a
misnomer -- tsunamis have
nothing to do with the
tides), refers to the
phenomenon of an undersea
disturbance causing a
huge wall of water to
flood the first land in
its path. The initial
earthquake or volcanic
eruption that sends a
seismic shock through the
water is invisible --
it's only when that shock
wave hits land, recoils,
and takes ocean swells
back with it, that the
wave begins to form. In
successive landings,
recoilings, and
re-landings, this force
finally spends itself,
usually inundating
anything in its path,
sometimes to a depth of
one hundred feet or more.
My piece does not
attempt to depict this
natural cataclysm -- how
could it, with three
instruments? -- but the
form of the first half of
the work is based on it.
The initial percussive
shock that opens the
piece creates a stir in
the form of a cello
motive marked swelling
and employing long
portamenti pushing
upwards. After a second
shock, the cello motive
begins an undersea
journey -- very slow and
lyrical at first --
accompanied by
non-pitched percussion
only. Eventually the
piano joins, first with
echoing bass notes, then
with a rather mechanical
motive high on the
keyboard. This force
grows, the cello line
climbs higher and higher
until another
double-shock is heard --
perhaps the energy has
hit land? Following this,
the percussion becomes
melodic (marimba), and we
now have two lines in
canon accompanied by a
separate line in the
piano. This, too, builds
to a climax, and an even
louder and more vigorous
shock results. Now the
texture is a three-way
canon with cello,
vibraphone, and piano
chasing each other in
ever faster cycles of
sound. The height of this
is a triple cadenza in
which all three players
spend their pent-up
energy, one at a time.
The second part of
the piece follows after a
settling-down, and is
marked Dancing. This is a
rondo, with a recurring
theme (heard first in the
marimba) followed by
three contrasting
sections heard between
reiterations of the main
tune (the form could be
diagrammed A-A-B-A-C-A).
The mood is one of joyous
kinetic energy, with
elements of Eastern or
Balinese gamelan sounds,
and employing several
pentatonic scales (as
does the first half of
the work). It ends in a
vigorous, stomping dance.
--Dan Welcher
.
