SATB chorus - early intermediate SKU: XC.HRMG2132 Composed by Michael Joh...(+)
SATB chorus - early
intermediate
SKU:
XC.HRMG2132
Composed
by Michael John Trotta.
Michael John Trotta.
Sacred. Octavo. 16 pages.
Hampton Roads Music Group
LLC #HRMG2132. Published
by Hampton Roads Music
Group LLC (XC.HRMG2132).
UPC: 785147104452.
English. Text source:
Traditional.
This
stunningly expressive
work was commissioned for
a vast number of high
school choir programs
forced to cancel concerts
due to the COVID-19
outbreak. Inspiring and
reflective, the rich
harmonies capture both a
sense of poignancy and
hope. An optional descant
soars above the choir,
adding a sense of
expansiveness: Your voice
brings hope! Over 200
singers from five high
schools coast to coast
learned the piece
separately using
part-dominant tracks and
recorded their
performances for the
virtual choir
premiere.
String Quartet No.
3. Composed by
Shulamit Ran. Sws.
Contemporary. Full score.
With Standard notation.
Composed March 9 2013. 32
pages. Duration 23
minutes. Theodore Presser
Company #114-41690S.
Published by Theodore
Presser Company
(PR.11441690S).
UPC:
680160626021. 9 x 12
inches.
Ran's third
string quartet was
written for the Pacifica
Quartet, who are
featuring it in numerous
performances from May
2014 through February
2016, across the country
and abroad. Their blog
page dedicated to the
work also features the
composer's notes, for
more indepth insight.
...impassioned solos
emerge from ominous
quiet, and high arpeggios
in the violins quiver
alongside the earthy
cello. Ms. Ran skillfully
deploys these extremes of
color, volume and pitch,
yet the overall somewhat
chilly impression is one
of poise. -- Zachary
Woolfe, The New York
Times. My third string
quartet was composed at
the invitation of the
Pacifica
Quartet, whose
music-making I have come
to know closely and
admire hugely as resident
artists at the University
of Chicago. Already
in our early
conversations Pacifica
proposed that this
quartet might, in some
manner, refer to the
visual arts as a point of
germination. Probing
further, I found out that
the quartet members had
special interest in art
created during the
earlier part of the 20th
century, perhaps between
the two world wars.Â
It was my good fortune to
have met, a short while
later, while in residence
at the American Academy
in Rome in the fall of
2011, art conservationist
Albert Albano who steered
me to the work of Felix
Nussbaum (1904-1944), a
German-Jewish painter
who, like so many others,
perished in the Holocaust
at a young age, and who
left some powerful,
deeply moving art that
spoke to the life that
was unraveling around
him. The title of my
string quartet takes its
inspiration from a major
exhibit devoted to art by
German artists of the
period of the Weimar
Republic (1919-1933)
titled “Glitter and
Doom: German Portraits
from the 1920sâ€,
first shown at New
York’s
Metropolitan Museum of
Art in 2006-07.Â
Nussbaum would have been
a bit too young to be
included in this
exhibit. His most
noteworthy art was
created in the last very
few years of his short
life. The
exhibit’s
evocative title, however,
suggested to me the idea
of “Glitter, Doom,
Shards, Memory†as
a way of framing a
possible musical
composition that would be
an homage to his life and
art, and to that of so
many others like him
during that era.
 Knowing that their
days were numbered, yet
intent on leaving a mark,
a legacy, a memory, their
art is triumph of the
human spirit over
annihilation. Parallel
to my wish to compose a
string quartet that,
typically for this genre,
would exist as
“pure musicâ€,
independent of a
narrative, was my desire
to effect an awareness in
my listener of matters
which are, to me, of
great human concern.
 To my mind there is
no contradiction between
the two goals. Â As in
several other works
composed since 1969, this
is my way of saying
‘do not
forget’, something
that, I believe, can be
done through music with
special power and
poignancy. Â Â The
individual titles of the
quartet’s four
movements give an
indication of some of the
emotional strands this
work explores. 1)
“That which
happened†(das was
geschah) – is how
the poet Paul Celan
referred to the Shoah
– the Holocaust.
 These simple words
served for me, in the
first movement, as a
metaphor for the way in
which an
“ordinaryâ€
life, with its daily flow
and its sense of sweet
normalcy, was shockingly,
inhumanely, inexplicably
shattered. 2)
“Menace†is a
shorter movement,
mimicking a Scherzo.
 It is also
machine-like, incessant,
with an occasional,
recurring, waltz-like
little tune –
perhaps the chilling
grimace we recognize from
the executioner’s
guillotine mask. Â Like
the death machine it
alludes to, it gathers
momentum as it goes, and
is
unstoppable. 3) â
If I must perish - do
not let my paintings
dieâ€; these words
are by Felix Nussbaum
who, knowing what was
ahead, nonetheless
continued painting till
his death in Auschwitz in
1944. Â If the heart of
the first movement is the
shuddering interruption
of life as we know it,
the third movement tries
to capture something of
what I can only imagine
to be the conflicting
states of mind that would
have made it possible,
and essential, to
continue to live and
practice one’s art
– bearing witness
to the events.
 Creating must have
been, for Nussbaum and
for so many others, a way
of maintaining sanity,
both a struggle and a
catharsis – an act
of defiance and salvation
all at the same
time. 4)
“Shards,
Memory†is a direct
reference to my
quartet’s title.
 Only shards are left.
 And memory.  The
memory is of things large
and small, of unspeakable
tragedy, but also of the
song and the dance, the
smile, the hopes. All
things human. Â As we
remember, in the face of
death’s silence,
we restore dignity to
those who are
gone.—Shulamit
Ran .
For
Children's Choir and
Piano (with Optional
Percussion). Composed
by Alec Roth. Choral
Octavo; Performance Music
Ensemble; Single Titles.
Contemporary; Secular.
Score. 28 pages. Edition
Peters #98-EP73535.
Published by Edition
Peters (PE.EP73535).
ISBN 9790577022581.
Words by Vikram
Seth.
Earth and Sky
was commissioned by the
BBC for the Proms 2000
season. In keeping with
the millennial theme, a
work presenting a vision
of the future was
requested. Trying to be
helpful, the BBC provided
me with the predictions
of various pundits, but
their ideas seemed
dizzyingly contradictory.
Then the simple thought
struck me that however
varied and complex the
answers, the big
questions will always
remain the same. We may
now have a map of the
human genome, but how to
use the map? How shall I
know where I should go?
How may I see the I
that's me? As a
musician I am hopeful
that, no matter how the
world develops, future
generations will still
come together to dance
and sing and play. The
mysterious power of music
to bind us socially and
inspire us individually
seems to be built into
our genes. So, a song of
questions; a song about
music---these were the
ideas which I took to
Vikram Seth, who had
generously agreed to
write the words for me.
The resulting poem
provided lots of
inspiration. It is
entirely monosyllabic,
enabling considerable
variety of rhythmic
treatment. I love its
permutations and its
imagery of paradox and
inversion and I have
amused myself by playing
similar games with the
musical material. But
there is seriousness as
well as fun---the text's
juxtaposition of the
certainty of death with
the search for purpose in
life achieves great
poignancy when sung by
young voices. (Alec
Roth)
This product
is Printed on Demand and
may take several weeks to
fulfill.
Choral (SSA Choir) - easy SKU: HL.14025878 (The Little Prince). Co...(+)
Choral (SSA Choir) - easy
SKU: HL.14025878
(The Little
Prince). Composed by
Nicholas Wright and
Rachel Portman. Arranged
by Richard Allain. Music
Sales America. Classical,
Female Voices. Book
[Softcover]. Composed
2005. 20 pages. Chester
Music #CH69531. Published
by Chester Music
(HL.14025878).
ISBN
9781846090486. UPC:
884088441012.
6.75x9.75x0.069 inches.
Lyrics by Nicholas
Wright.
An
arrangement of one of the
songs from The Little
Prince, a fabulous,
moving and melodic opera
by Rachel Portman with
luxurious counter
melodies and placid
harmonies. This opera is
based on French
philosopher and aviator
Antoine de
Saint-Exupery's novella,
Le Petit Prince, an
international classic
penned in 1943. It was
composed by Rachel
Portman, the first woman
to win an Oscar for a
film score (Emma-1996),
with text by Nicholas
Wright. While
Saint-Exupery's moving
parable of self-discovery
is the foundation of the
opera's appeal, it is
Portman's music that
gives the work its
dramatic impact. The
characters are brought to
life and portrayed with a
delicate combination of
humour and poignancy.
This SSA and Piano
arrangement of The
Lamplighters by Richard
Allain.
Choral (SSA Choir) SKU: HL.14025882 (The Little Prince). Composed ...(+)
Choral (SSA Choir)
SKU: HL.14025882
(The Little
Prince). Composed by
Rachel Portman. Arranged
by Richard Allain. Music
Sales America. Classical,
Female Voices. Choral
Score. Composed 2005. 12
pages. Chester Music
#CH69520. Published by
Chester Music
(HL.14025882).
ISBN
9781846090479. UPC:
884088441029.
6.75x9.75x0.04 inches.
Lyrics by Nicholas
Wright.
An
arrangement for upper
voices of one of the
songs from The Little
Prince, a fabulous,
moving and melodic opera
by Rachel Portman with
luxurious counter
melodies and placid
harmonies. This opera is
based on French
philosopher and aviator
Antoine de
Saint-Exupery's novella,
Le Petit Prince, an
international classic
penned in 1943. It was
composed by Rachel
Portman, the first woman
to win an Oscar for a
film score (Emma-1996),
with text by Nicholas
Wright. While
Saint-Exupery's moving
parable of self-discovery
is the foundation of the
opera's appeal, it is
Portman's music that
gives the work its
dramatic impact. The
characters are brought to
life and portrayed with a
delicate combination of
humour and poignancy.
This SSA and Piano
arrangement of The Roses
by Richard Allain.
Bassoon and piano SKU: P2.40006 Composed by James Grant. Solo music, 20th...(+)
Bassoon and piano
SKU:
P2.40006
Composed by
James Grant. Solo music,
20th century. Published
by Potenza Music
(P2.40006).
James Grant
says, Slow jazz... What
musical language could
celebrate more
appropriately the
lyrical, sensuous,
expressive character of
the bassoon? The three
Chocolates, in this
version for bassoon and
piano, are torch songs in
the tradition of the
passionate, tuneful
ballads of the American
40s and 50s. The first
two Chocolates, Valentine
and Bittersweet, offer
soulful narratives that
speak to devotion,
poignancy, romance,
uncertainty, longing. The
third Chocolate, Triple
Mocha Indulgence, is
slightly less
soul-searching, more
ebullient, and
progressively becomes
more animated (a sugar
high, perhaps?) right up
to its raucous close.
Chocolates was
commissioned and
premiered in 1998 by
violist Michelle
LaCourse, to whom this
music is dedicated..
Composed by John Parker, music by Heather Sorenson. Choral Octavo. Alfred Choral...(+)
Composed by John Parker,
music by Heather
Sorenson. Choral Octavo.
Alfred Choral Designs.
Secular; Winter. 12
pages. Published by
Alfred Music (AP.43421).
By Philippe Rogier. Arranged by Sally Dunkley. For SSAATB choir, a cappella. Mix...(+)
By Philippe Rogier.
Arranged by Sally
Dunkley. For SSAATB
choir, a cappella. Mixed
Voices. Musica Dei donum.
Sacred, Choral Leaflet.
Vocal score. 16 pages.
Duration 5'. Published by
Oxford University Press
Concert Band (Score) - Grade 4-5 SKU: HL.4001788 Composed by John William...(+)
Concert Band (Score) -
Grade 4-5
SKU:
HL.4001788
Composed
by John Williams.
Arranged by Paul
Lavender. Hal Leonard
Concert Band Series.
Movies. 20 pages.
Published by Hal Leonard
(HL.4001788).
UPC:
884088248420.
9.0x12.0x0.038
inches.
Steven
Spielberg's twenty year
association with John
Williams has produced yet
another powerful
cinematic achievement,
this time a gripping,
realistic view of the
horrors of WW II.
Williams' score includes
this simple hymn, using
chorus as an instrument
of the orchestra, adding
a special reverence and
poignancy to the simple
melody. Arranger Paul
Lavender brings us this
edition for the concert
band stage.
Second String Quartet Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.114417830 Composed by Carter Pann. P...(+)
Chamber Music String
Quartet
SKU:
PR.114417830
Composed
by Carter Pann. Premiered
at the ACE Gallery in
Beverly Hills, CA.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2014.
46+16+16+16+16 pages.
Duration 30 minutes.
Theodore Presser Company
#114-41783. Published by
Theodore Presser Company
(PR.114417830).
UPC:
680160636860.
With
support from Elizabeth
and Justus Schlichting,
Pann's Second String
Quartet was written for
the Takacs Quartet to
honor the contributions
of NancyBell Coe as
president of the Music
Academy of the West. The
Takacs, hailed as one of
the world's greatest
ensembles, performed the
work as part of a
weeklong series of
masterclasses at the
Academy's Summer Festival
2015. The Second String
Quartet is made up of six
descriptive movements: I.
L'Extase, II.
Precipitato, III.
Passacaglias, IV.
Commute, V. Adjusting the
Torque, VI. Escher's
Rounds. For advanced
performers.
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet
SKU:
PR.11440505S
Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S).
UPC:
680160008391. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Choral (SSA Choir) - easy SKU: HL.14025879 (The Little Prince). Co...(+)
Choral (SSA Choir) - easy
SKU: HL.14025879
(The Little
Prince). Composed by
Rachel Portman. Arranged
by Richard Allain. Music
Sales America. Classical,
Female Voices. Choral
Score. Composed 2005. 12
pages. Chester Music
#CH69542. Published by
Chester Music
(HL.14025879).
ISBN
9781846090493. UPC:
884088447526.
6.75x9.75x0.052 inches.
Lyrics by Nicholas
Wright.
An
arrangement of one of the
songs from The Little
Prince, a fabulous,
moving and melodic opera
by Rachel Portman with
luxurious counter
melodies and placid
harmonies. This opera is
based on French
philosopher and aviator
Antoine de
Saint-Exupery's novella,
Le Petit Prince, an
international classic
penned in 1943. It was
composed by Rachel
Portman, the first woman
to win an Oscar for a
film score (Emma-1996),
with text by Nicholas
Wright. While
Saint-Exupery's moving
parable of self-discovery
is the foundation of the
opera's appeal, it is
Portman's music that
gives the work its
dramatic impact. The
characters are brought to
life and portrayed with a
delicate combination of
humour and poignancy.
This SSA and Piano
arrangement of Look At
The Stars by Richard
Allain.
Choral (SATB) SKU: HL.382333 By Bob Dylan. By Bob Dylan. Arranged by Adam...(+)
Choral (SATB)
SKU:
HL.382333
By Bob
Dylan. By Bob Dylan.
Arranged by Adam Podd.
Voices Rising/Concert
Pop. Concert, Pop.
Octavo. Published by Hal
Leonard (HL.382333).
UPC: 196288020578.
6.75x10.5x0.036
inches.
This
re-imagined
interpretation of the
classic Bob Dylan song is
perfect for any concert
with a social justice
theme. The
re-harmonization and
contrasting musical style
will bring a new
attention and poignancy
to these well-known
words. There is a new
musical home for this in
concert halls where it
has not been found
before.
Mariposa Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB Choir and Piano SKU: PR.312418780 No. 2 From Second April<...(+)
Choral SATB Choir and
Piano
SKU:
PR.312418780
No. 2
From Second April.
Composed by Eric Ewazen.
Fold. Performance Score.
Theodore Presser Company
#312-41878. Published by
Theodore Presser Company
(PR.312418780).
ISBN
9781491138137. UPC:
680160640201. Second
April, by Edna St.
Vincent
Millay.
Second
April for S.A.T.B. Chorus
and Piano is a
four-movement set, based
on the poetry of Edna St.
Vincent Millay. Ewazen
has long been enamored
with her poetry's
wonderfully vivid and
descriptive imagery of
nature and emotions, and
its powerful and profound
meaning. The second
movement, MARIPOSA
celebrates nature,
wandering through a field
of white and blue
butterflies appearing
wondrously, with rich
chords and arpeggios. Yet
also stepping back, the
fleeting nature of life
is the reality, with
gentle, somber chords
interspersed with the
magical flight of the
Mariposa. Program
Notes by Eric
EwazenSECOND APRIL for
S.A.T.B. Chorus and Piano
is a four-movement set,
based on the poetry of
Edna St. Vincent Millay.
I have long been enamored
with the poetry of Millay
for its wonderfully vivid
and descriptive imagery,
and its often powerful
and profound meaning.
Millay’s descriptions
of nature, and of
feelings and emotions,
have always spoken to me.
SECOND APRIL consists of
four of her poems, each
with a distinctive mood,
message, and emotional
feel. They are vivid,
powerful, and beautiful,
inspiring me to capture
these descriptions of the
various scenes she
portrays. Song of a
Second April uses music
to underlie strong
feelings, passions, and
the tragedies of life.
The poem itself is
dramatic, detailing a
time of personal strife
and tragedy, perhaps the
end of a relationship or
even the end of a life.
The music is intense,
fast, in a minor key, and
with rapid, spinning
notes creating a feeling
of powerful, relentless
emotions. Melodies,
motives, and gestures are
tossed between the
voices, increasing the
feelings of intensity and
even desperation. Little
by little, the music
almost dies away, getting
quieter and quieter,
creating a feeling of
resignation, but with a
Picardy Third in the
final chord – maybe a
bit of hope! Mariposa
is a celebration of
nature, wandering through
a field with white and
blue butterflies
appearing almost
wondrously. But there’s
also a profound feeling
of poignancy, noting that
as one relishes such a
beautiful, magical sight,
they should embrace the
experience – the
fleeting, transient
nature of such a perfect
vision and of life
itself. The music
portrays the flying of
the butterflies: gentle,
beautiful, with rich
chords and arpeggios, but
stepping back, as the
fleeting nature of life
is the reality, with
gentle, but sombre chords
interspersed with the
magical flight of the
Mariposa.Alms is a fast
rondo, intense, bold, and
always dance-like. It is
about both tragedy and
resilience. This music is
also in minor, yet with
moments of playfulness,
as a recollection of
happy times or moments
takes over. This seesaw
between emotions is heard
throughout the movement,
as the music continues to
“dance.” And with
Millay’s summing up of
“reality being what it
is,” the piece ends
with strength, boldness,
and finality. Into the
Golden Vessel of Great
Song is an appassionato
call to overcome! The
poem exhorts us to
“sing out” with hope,
determination, and
strength. The music is
full of bright and
lilting energy; but as
the turmoil and times of
strife people can
sometimes feel or
experience, the music
becomes intense,
dramatic, in a minor key,
and with changing
rhythms. BUT, there is a
return to championing the
idea of simply
overcoming, going forward
with hope and
determination, and the
music is in major,
resonant and strong.
.
Mixed choir SKU: FG.042-03424-8 Composed by Jean Sibelius. Octavo. Publis...(+)
Mixed choir
SKU:
FG.042-03424-8
Composed by Jean
Sibelius. Octavo.
Published by Fennica
Gehrman (FG.042-03424-8).
ISBN
979-0-042-03424-8.
This arrangement for
men's voices of Sibelius'
choral miniature in
memory of his friend, the
painter Albert Edelfelt,
retains all the poignancy
and radiant optimism of
the original setting.
(for Woodwind Quintet). Composed by Wolfgang Amadeus Mozart (1756-1791). Edite...(+)
(for Woodwind Quintet).
Composed by Wolfgang
Amadeus
Mozart (1756-1791).
Edited
by William Purvis. Score
and
Parts. Southern Music.
Hal
Leonard #SU786. Published
by
Hal Leonard
(for Woodwind Quintet). Composed by Wolfgang Amadeus Mozart (1756-1791). Edite...(+)
(for Woodwind Quintet).
Composed by Wolfgang
Amadeus
Mozart (1756-1791).
Edited
by William Purvis. Score
and
Parts. Southern Music.
Hal
Leonard #SU787. Published
by
Hal Leonard
Composed by John Parker, music by Heather Sorenson. Choir Secular. For Piano and...(+)
Composed by John Parker,
music by Heather
Sorenson. Choir Secular.
For Piano and Cello
(3-Part Mixed Choir
(SAB)). Choral Octavo.
Choral Designs. Secular;
Winter. 12 pages.
Published by Alfred Music
Concert Band (Score & Parts) - Grade 5 SKU: HL.48024108 Composed by Dana ...(+)
Concert Band (Score &
Parts) - Grade 5
SKU:
HL.48024108
Composed
by Dana Wilson.
Windependence Artist
Level. Concert, Contest.
Softcover. Boosey &
Hawkes #M051663712.
Published by Boosey &
Hawkes (HL.48024108).
ISBN 9781495097607.
UPC: 888680696788.
10.5x14
inches.
“As I
began this piece, it was
as though I were entering
a dream. The music was
atmospheric, undefined,
and somewhat
disorienting. Gradually
the material became more
focused, but just in time
to switch to a very
different--though
related--sound world,
which became the second
movement. The overall
poignancy, varied sound
worlds and dramatic shape
of the music suggested
the title.” ~Dana
Wilson Duration: 8:00
(Recorded by the North
Texas Wind Symphony,
Jacqueline Townsend,
conductor).
Second String Quartet Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
Chamber Music String Quartet SKU: PR.11441783S Composed by Carter Pann. P...(+)
Chamber Music String
Quartet
SKU:
PR.11441783S
Composed
by Carter Pann. Premiered
at the ACE Gallery in
Beverly Hills, CA.
Contemporary. Full score.
With Standard notation.
Composed 2014. 46 pages.
Duration 30 minutes.
Theodore Presser Company
#114-41783S. Published by
Theodore Presser Company
(PR.11441783S).
UPC:
680160636884.
With
support from Elizabeth
and Justus Schlichting,
Pann's Second String
Quartet was written for
the Takacs Quartet to
honor the contributions
of NancyBell Coe as
president of the Music
Academy of the West. The
Takacs, hailed as one of
the world's greatest
ensembles, performed the
work as part of a
weeklong series of
masterclasses at the
Academy's Summer Festival
2015. The Second String
Quartet is made up of six
descriptive movements: I.
L'Extase, II.
Precipitato, III.
Passacaglias, IV.
Commute, V. Adjusting the
Torque, VI. Escher's
Rounds. For advanced
performers.
Choral SATB Voices with Keyboard and optional Flute SKU: CF.CM9040 Compos...(+)
Choral SATB Voices with
Keyboard and optional
Flute
SKU:
CF.CM9040
Composed by
David Eddleman.
Performance Score. With
Standard notation. 8
pages. Carl Fischer Music
#CM9040. Published by
Carl Fischer Music
(CF.CM9040).
ISBN
9780825866012. UPC:
798408066017. 6.875 X
10.5 inches. Key: G
major.
This lyrical
setting of a celebrated
anonymous text from the
English Renaissance makes
good use of the contrast
between male and female
voices. The memorable
melody and tender,
yearning harmonies are
guaranteed to make this
piece a crowd pleaser. An
optional Flute line
enhances the delicate
poignancy of this lovely
selection.