4 Trombones - advanced SKU: BT.AMP-313-070 Composed by Philip Sparke. Ang...(+)
4 Trombones - advanced
SKU:
BT.AMP-313-070
Composed by Philip
Sparke. Anglo
Instrumental series. Set
(Score & Parts). Composed
2011. 14 pages. Anglo
Music Press #AMP 313-070.
Published by Anglo Music
Press (BT.AMP-313-070).
ISBN 9789043146678.
9x12 inches.
English-German-French-Dut
ch.
Reflections was
composed for the Japanese
Trombone Quartet Zipang.
The composer was so
impressed by the quality
of the quartet’s
ensemble playing, blend
and balance that he
wanted to write a piece
that would exploit these
factors to the full. So
the work is almost
‘conversationalââ‚
¬â„¢, with the four
players assuming equal
roles and separately
moving the musical
argument forward.
Reflections is na Tokyo
Tryptich het tweede
werk dat in opdracht van
het Japanse
trombonekwartet Zipang
geschreven werd. Ge
nspireerd door het
uitgebalanceerde
samenspel van de
muzikanten, schreef
Philip Sparke een
werkwaarbij hij de nadruk
legt op dit talent. Het
werk is een dialoog
tussen de volstrekt
gelijkwaardige stemmen,
een muzikaal debat waarin
elk van de vier spelers
zijn of haar mening mag
geven.
Reflecti
ons ist nach Tokyo
Tryptich das zweite
Werk, das vom japanischen
Posaunenquartett Zipang
in Auftrag gegeben wurde.
Begeistert vom
ausgewogenen
Zusammenspiel dieser
Musiker, schrieb Philip
Sparke ein Stück,
das diese Fähigkeit
besonders hervorheben
sollte. So ist
Reflections fast
ein Dialog zwischen
gleichberechtigten
Stimmen, die in der
musikalischen Debatte
alle ihre eigene
Meinung“ beisteuern
dürfen.
Reflections, è
dopo Tokyo Tryptich il
secondo brano
commissionato a Philip
Sparke dal Quartetto di
Tromboni Zipang.
Impressionato dalle
qualit del quartetto,
Sparke ha composto un
brano che lo valorizzasse
ulteriormente.
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir
SKU:
CF.CM9700
Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700).
ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk.
In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra: an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂÂÂ.
(Score) SKU: HL.48022804 Score. Composed by Kai Nieminen. Boosey &...(+)
(Score)
SKU:
HL.48022804
Score. Composed by
Kai Nieminen. Boosey &
Hawkes Chamber Music.
Classical, Contemporary.
Softcover. Hal Leonard
#M550111233. Published by
Hal Leonard
(HL.48022804).
Organ SKU: HL.263189 Organ. Composed by Niels Rosing-schow. Music ...(+)
Organ
SKU:
HL.263189
Organ. Composed by
Niels Rosing-schow. Music
Sales America. Classical.
Softcover. 27 pages.
Duration 780 seconds.
Edition Wilhelm Hansen
#WH32944. Published by
Edition Wilhelm Hansen
(HL.263189).
ISBN
9788759839294.
12.0x8.5x0.13
inches.
Triptykon /
Triptych for Organ solo
by Niels Rosing-Schow.
Triptych is written for
the celebration of the
500th anniversary of the
Reformation in 2017,
commissioned by The
Danish Society of
Organists and Cantors.
From the preface: The
three movements of the
work are musical images
or situations, with the
middle one, Toccata, as
its axis. The latter is
intended as an image of
the dispute between
Luther and the
ecclesiastical
authorities, which is the
origin of the
Reformation. Two of
Luther's Reformation
Hymns are more or less
palpably present in the
music. The other two
movements can be regarded
as 'before' and 'after'.
The first, Exordium, is a
'fluid' situation, but
also a preparation, which
gradually accumulates a
suspense pointing towards
the discharge of energy
of the Toccata. The third
movement, Hymn,
represents a serene
situation, where a wealth
of hymnal fragments grows
out of an underlying
structure, repeated
several times(technically
speaking, a passacaglia).
There are also elements,
however, which are
derived from the previous
movements. Niels
Rosing-Schow (2016).
Organ SKU: SU.80101247 For Organ. Composed by Frederick Frahm. Key...(+)
Organ
SKU:
SU.80101247
For
Organ. Composed by
Frederick Frahm.
Keyboard, Organ. Score.
Zimbel Press #80101247.
Published by Zimbel Press
(SU.80101247).
This set of
voluntaries for organ
manuals forms a triptych
for liturgical use. They
may be played as a set in
order, or individually
per the
performer’s
discretion. They were
composed for a modest two
manual organ. The
voluntaries, reminiscent
of the Vierne or Litaize
‘liturgical
preludes’, are not
based on any pre-existing
tunes. Published by:
Zimbel Press.
