(Oboe With Piano Accompaniment) SKU: HL.48182056 Composed by Makoto Shino...(+)
(Oboe With Piano
Accompaniment)
SKU:
HL.48182056
Composed
by Makoto Shinohara.
Leduc. Classical. CD. 16
pages. Alphonse Leduc
#AL22921. Published by
Alphonse Leduc
(HL.48182056).
UPC:
888680907327.
9.0x12.0x0.09
inches.
“Japa
nese born Makoto
Shinohara was born in
1931. He studied at the
Tokyo University of Arts
before moving to the
Paris Conservatoire. His
passion is for electronic
music, but his catalogue
is varied and includes
the sublime Obsession for
Oboe and Piano. Composed
in 1960, Shinohara had
just completed his
studies at the Paris
Conservatoire under
Olivier Messiaen and
other experimental
composers. Obsession
exploits the Oboe and
Piano through riveting
uses of tonality, rhythm,
dynamics, tempo,
articulation and shared
melody. For all advanced
oboists seeking to
include a challenging yet
excitingly unique
contemporary work in
their repertoire,
Shinohara's Obsession
suitably fits the
bill!â€.
By Alain Lopez. For Alto Saxophone, Tenor Saxophone. Classical, Educational. Gra...(+)
By Alain Lopez. For Alto
Saxophone, Tenor
Saxophone. Classical,
Educational. Grade 4.
Score and set of parts. 7
(score); 4 (parts).
Published by FLEX
Editions
Book with Online Audio Drums SKU: HL.609286 By Steve Smith. Book. Biograp...(+)
Book with Online Audio
Drums
SKU:
HL.609286
By Steve
Smith. Book.
Biography/Composers and
Musicians, Drum
Reference. Softcover
Audio Online. Modern
Drummer Publications
#MDLEGENDSSSMITH.
Published by Modern
Drummer Publications
(HL.609286).
ISBN
9781705167618. UPC:
196288078616.
9.0x12.0x0.595
inches.
In the new
Steve Smith Legends, you
get a brand new 40-page
interview which covers
Steve's entire career and
virtually every band and
recording in which he's
played as a sideman or a
leader including:
Jean-Luc Ponty, Ronnie
Montrose, Steps Ahead,
Vital Information, Mike
Stern, Hiromi, the many
editions of the band
Electric Miles, the
tribute gigs playing The
Music of Coltrane and The
Music of Ornette Coleman.
We discuss what it means
to be a professional
drummer and musician, the
history of jazz and
fusion drumming, the
music business, and being
an eternal student of the
drums and music. To help
you study how Steve
interprets music and
creates drum parts, he
gave us eight of his own
handwritten drum charts
from the Journey and Mike
Stern gigs. The reader
also gets an in-depth
step-by-step lesson on
Indian rhythms and
drumming. LEGENDS also
comes with a free
download component of
Steve's drum solo
recording The Fabric of
Rhythm (a $200 value)
with exclusive in-depth
explanations of each
solo. For the gear
obsessed drummers, Steve
gives us a complete
rundown of every drum set
that he has owned,
recorded, and toured
with, and hundreds of
never-before-seen
pictures from his own
archive. You will also
get over 50 brand new
transcriptions. However,
LEGENDS transcriptions
are not just the notes
and rests. LEGENDS also
includes Steve's thoughts
on what makes the
transcribed parts and
recordings special and
unique. Along with the
detailed transcriptions,
we discuss WHAT and WHY
he played what he did.
Plus, you get all six of
Steve's past Modern
Drummer cover feature
interviews. There are a
lot of surprises in every
LEGENDS book, and there
is a mountain of useful
information inside the
over 248 pages! This is
not just another drum
book or magazine, it's
Modern Drummer
LEGENDS.
Dance Monkey Chorale 3 parties SAB A Cappella Alfred Publishing
Composed by Toni Watson. Arranged by Bryan Sharpe. Performance Music Ensemble;...(+)
Composed by Toni Watson.
Arranged by Bryan Sharpe.
Performance Music
Ensemble;
Single Titles. Alfred Pop
Choral Series.
Contemporary A
Cappella; Pop; Radio;
Secular. Choral Octavo.
16
pages. Alfred Music #00-
48961. Published by
Alfred
Music
Le Portrait de Daisy Hamilton, Op. 140. (Volume 3: Seven Pieces for Two Pianos)....(+)
Le Portrait de Daisy
Hamilton, Op. 140.
(Volume 3: Seven Pieces
for Two Pianos). By
Charles Koechlin
(1867-1950). Piano
Ensemble. 36 pages.
Schott Music #ED20262.
Published by Schott Music
SKU: HL.50605317 For Recorder Quartet. Composed by Cheryl Frances-...(+)
SKU: HL.50605317
For Recorder
Quartet. Composed by
Cheryl Frances-Hoad.
Woodwind. Softcover. 56
pages. Duration 300
seconds. Chester Music
#CH88116. Published by
Chester Music
(HL.50605317).
ISBN
9781705177570. UPC:
196288102694. 9.0x12.0
inches.
Pieces of
Light was commissioned by
the Flautadors for their
20th Anniversary. When
the group approached me
about writing a piece, I
had just finished reading
Pieces of Light; The New
Science of Memory by
Charles Fernyhough, and
it struck me that a work
inspired by memories and
how they are created in
our brains would be very
appropriate for a group
of musicians celebrating
such a wonderful
milestone. A quote by
Nabokov in particular
provided ideas for both
the rapid, rhythmic music
that starts and ends the
piece and the slow,
'light-filled' chords of
the middle section: [In
Nabokov's autobiography,
Speak, Memory, he sees]
'the awakening of
consciousness as a series
of spaced flashes, with
the intervals between
them gradually
diminishing until bright
blocks of perception are
formed, affording memory
a slippery hold.' In
addition, this work has
really been shaped by the
recorders themselves:
before writing, I spent
several hours with Ian
Wilson (a member of the
group) learning about the
myriad different types of
instrument I could write
for. The renaissance
instruments particularly
appealed due to their
fabulous timbre, despite
the fact that, due to
their open hole design,
diatonic music works much
better than anything
chromatic. I became
rather obsessed with the
idea of writing chromatic
music for diatonic
instruments, and so in
this piece I use
recorders at both modern
(A440) and baroque (A415,
a semi-tone lower) pitch.
This allowed me to write
a piece that uses all
twelve semitones of the
scale throughout, whilst
never writing a note for
any individual recorder
that falls outside its
particular diatonic major
scale: a compositional
device that pleased me
greatly!-Cheryl
Frances-Hoad, 2019.
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.
Colditz Castle Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000438-140 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000438-140
Composed by Rob Goorhuis.
Score Only. 20 pages.
Gobelin Music
Publications #GOB
000438-140. Published by
Gobelin Music
Publications
(BT.GOB-000438-140).
Written as a
commission by the
Stichting de Inrichting
foundation of Wijk bij
Duurstede (the
Netherlands), Rob
Goorhuis Requiem voor de
mens (Requiem for Man) on
lyrics by André van
Zwieten was composed in
the year 2001. This
work for choir
andwind-band greatly
impressed the audience,
whilst its composer
remained obsessed by its
war theme.
When
he subsequently heard
that the Rundfunk
Blasorchester from the
German town of Leipzig -a
place not far from
Colditz - was to dedicate
a CDto his work, Rob
Goorhuis got the idea to
process some of the
themes from his Requiem
for Man into an
instrumental composition
about the famous Colditz
castle. a place still
bearing the scars of war.
From 1933 to
1934, the castle was
aSchutzhaftlager. During
the Second World War, it
was used as a prison for
senior officers. From
this prison, many escapes
were undertaken, which
even resulted in the
castle being nicknamed
The Escape School. In the
seventies, a
television-seriesabout
this period made the
castle very well-known
with the public at
large.
The
despondent tone of the
opening theme underscores
the sadness caused by
wars and violence.
Nevertheless the works
ending is hopeful and
triumphant. Peace
iscelebrated, but with
the hope for a lasting
peace sadly remaining a
topical issue to the
present moment.
In
2001 schreef Rob
Goorhuis, op teksten van
André van Zwieten het
Requiem voor de Mens, in
opdracht van de Stichting
de Inrichting uit Wijk
bij Duurstede. Dit
werk voor koor en
harmonie-orkest maakte
grote indruk op het
publiek, terwijl
decomponist bleef
geobsedeerd door het
oorlogs thema.
Toen hij later
hoorde dat het Rundfunk
Blasorchester uit de
Duitse stad Leipzig, een
plaats niet ver van
Colditz, gevraagd was om
een cd te wijden aan zijn
werk, kreeg Rob Goorhuis
het ideeom enkele van de
themas uit zijn Requiem
voor de Mens te verwerken
tot een instrumentale
compositie over de
beroemde kasteel Colditz,
een plaats met nog steeds
de littekens van de
oorlog. Het kasteel
van Colditz heeft in de
historie eenbelangrijke
rol gespeeld. Het
eeuwenoude kasteel
overleefde vele
veldslagen en oorlogen.
In de Tweede Wereldoorlog
diende het kasteel zelfs
als gevangenis voor
geallieerde officieren.
Het aantal ontsnappingen
was echter talrijk en de
geromantiseerdeBritse
TV-serie uit de jaren
zeventig over dat
onderwerp gaf het kasteel
een grote bekendheid.
Het driedelige werk
beschrijft de periode
voor, tijdens en na de
Tweede
Wereldoorlog.
De
angst voor dat wat staat
te gebeuren en het
verdrietvan jaren van
oorlog in het kalme
sfeervolle eerste deel.
Vervolgens de hoop op
beter en positievere
geluiden in het tweede en
derde deel. Vooral het
derde flitsende deel
houdt de hoop op betere
tijden
springlevend.
Solo Piano SKU: AP.36-M348091 Composed by Robert Nathaniel Dett. Performa...(+)
Solo Piano
SKU:
AP.36-M348091
Composed by Robert
Nathaniel Dett.
Performance Music
Ensemble. Master Piano
Series. Score and
Part(s). LudwigMasters
Publications #36-M348091.
Published by
LudwigMasters
Publications
(AP.36-M348091).
UPC:
660355091131.
English.
Robert
Nathaniel Dett
(1882-1943) wrote
Enchantment: A Romantic
Suite for the piano on an
Original Program in 1922.
A programmatic piece in
four movements, Dett
offers text at the
beginning for each
movement, describing a
soul obsessed by a desire
for the unattainable.
Movements: I.
Incantation, II. Song of
the Shrine, III. Dance of
Desire, IV. Beyond the
Dream.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Piano SKU: BT.EMBZ12718 Composed by Franz Liszt. EMB Liszt Works. Book On...(+)
Piano
SKU:
BT.EMBZ12718
Composed
by Franz Liszt. EMB Liszt
Works. Book Only.
Composed 1984. 36 pages.
Editio Musica Budapest
#EMBZ12718. Published by
Editio Musica Budapest
(BT.EMBZ12718).
Colditz Castle Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000438-010 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000438-010
Composed by Rob Goorhuis.
Set (Score & Parts). 164
pages. Gobelin Music
Publications #GOB
000438-010. Published by
Gobelin Music
Publications
(BT.GOB-000438-010).
Written as a
commission by the
Stichting de Inrichting
foundation of Wijk bij
Duurstede (the
Netherlands), Rob
Goorhuis Requiem voor de
mens (Requiem for Man) on
lyrics by André van
Zwieten was composed in
the year 2001. This
work for choir
andwind-band greatly
impressed the audience,
whilst its composer
remained obsessed by its
war theme.
When
he subsequently heard
that the Rundfunk
Blasorchester from the
German town of Leipzig -a
place not far from
Colditz - was to dedicate
a CDto his work, Rob
Goorhuis got the idea to
process some of the
themes from his Requiem
for Man into an
instrumental composition
about the famous Colditz
castle. a place still
bearing the scars of war.
From 1933 to
1934, the castle was
aSchutzhaftlager. During
the Second World War, it
was used as a prison for
senior officers. From
this prison, many escapes
were undertaken, which
even resulted in the
castle being nicknamed
The Escape School. In the
seventies, a
television-seriesabout
this period made the
castle very well-known
with the public at
large.
The
despondent tone of the
opening theme underscores
the sadness caused by
wars and violence.
Nevertheless the works
ending is hopeful and
triumphant. Peace
iscelebrated, but with
the hope for a lasting
peace sadly remaining a
topical issue to the
present moment.
In
2001 schreef Rob
Goorhuis, op teksten van
André van Zwieten het
Requiem voor de Mens, in
opdracht van de Stichting
de Inrichting uit Wijk
bij Duurstede. Dit
werk voor koor en
harmonie-orkest maakte
grote indruk op het
publiek, terwijl
decomponist bleef
geobsedeerd door het
oorlogs thema.
Toen hij later
hoorde dat het Rundfunk
Blasorchester uit de
Duitse stad Leipzig, een
plaats niet ver van
Colditz, gevraagd was om
een cd te wijden aan zijn
werk, kreeg Rob Goorhuis
het ideeom enkele van de
themas uit zijn Requiem
voor de Mens te verwerken
tot een instrumentale
compositie over de
beroemde kasteel Colditz,
een plaats met nog steeds
de littekens van de
oorlog. Het kasteel
van Colditz heeft in de
historie eenbelangrijke
rol gespeeld. Het
eeuwenoude kasteel
overleefde vele
veldslagen en oorlogen.
In de Tweede Wereldoorlog
diende het kasteel zelfs
als gevangenis voor
geallieerde officieren.
Het aantal ontsnappingen
was echter talrijk en de
geromantiseerdeBritse
TV-serie uit de jaren
zeventig over dat
onderwerp gaf het kasteel
een grote bekendheid.
Het driedelige werk
beschrijft de periode
voor, tijdens en na de
Tweede
Wereldoorlog.
De
angst voor dat wat staat
te gebeuren en het
verdrietvan jaren van
oorlog in het kalme
sfeervolle eerste deel.
Vervolgens de hoop op
beter en positievere
geluiden in het tweede en
derde deel. Vooral het
derde flitsende deel
houdt de hoop op betere
tijden
springlevend.
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS.
Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano.
Chamber Music String Quartet SKU: PR.14440505S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440505S
Composed
by Sydney F. Hodkinson.
Full score. With Standard
notation. 37 pages.
Duration 17 minutes.
Theodore Presser Company
#144-40505S. Published by
Theodore Presser Company
(PR.14440505S).
UPC:
680160594603.
The
most straightforward and
shortest of any of my
string quartets to date,
the sixth employs only
two thematic gestures
which are used, perhaps
obsessively, throughout:
(a) brief melodic lines
formed principally of
sevenths, and (b) an
ascending scale. The
formal design is born out
of the continual
combining, interweaving
and juxtaposition of
these two elements, which
collect themselves into
two movements played
without pause: the first
predominantly slow and
pensive, the second
rhythmic and driving.
Quartet No. 6 is
approximately 16 minutes
in duration. The score
was commissioned by the
Los Angeles-based Calder
Quartet, four extremely
talented young musicians
with whom I performed at
the Aspen, Colorado,
Music Festival, and is
dedicated to my wife,
Elizabeth on the occasion
of our fifty years
together. The first
movement is written in
memory of my
father-in-law Howard
Deischer (1907 - 2005),
who died during the
course of composing. The
work was completed in
April of 2005 in
Ormond-by-the-Sea,
Florida. -- Sydney
Hodkinson. The most
straightforward and
shortest of any of my
string quartets to date,
the sixth employs only
two thematic gestures
which are used, perhaps
obsessively, throughout:
(a) brief melodic lines
formed principally of
sevenths, and (b) an
ascending scale. The
formal design is born out
of the continual
combining, interweaving
and juxtaposition of
these two elements, which
collect themselves into
two movements played
without pause: the first
predominantly slow and
pensive, the second
rhythmic and
driving.Quartet No. 6 is
approximately 16 minutes
in duration. The
score was commissioned by
the Los Angeles-based
Calder Quartet, four
extremely talented young
musicians with whom I
performed at the Aspen,
Colorado, Music Festival,
and is dedicated to my
wife, Elizabeth on the
occasion of our fifty
years together. The
first movement is written
in memory of my
father-in-law Howard
Deischer (1907 –
2005), who died during
the course of
composing. The work
was completed in April of
2005 in
Ormond-by-the-Sea,
Florida.— Sydney
Hodkinson.
Chamber Music String Quartet SKU: PR.14440385S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440385S
Composed
by Sydney F. Hodkinson.
Large Score. With
Standard notation.
Duration 20 minutes.
Theodore Presser Company
#144-40385S. Published by
Theodore Presser Company
(PR.14440385S).
UPC:
680160029907.
A
shorter and less
stringent work than my
two previous quartets
(1992 and 1994), the
Fourth Quartet is
comprised, almost
obsessively, of the
interplay between two
thematic kernels: (1) a
5-note motto, announced
at the outset, derived
from pitches in my own
name; and (2) a brief
legato line of expressive
sevenths (minor/major),
which is itself born out
of the first cell. Both
of these fragments
constantly pervade the
entire work, albeit in
ever-changing raiment.
The piece is extremely
classical in design: four
movements played without
interruption -
slow/fast/slow/fast -
with the first and third
sections alternating
declamatory and calmer
gestures, and the second
and fourth being, in
effect, almost variants
of each other. Quartet
No. 4 is approximately 20
minutes in duration and
each movement, as noted,
was written in memory of
dear friends who passed
away during late 1995 and
early 1996. The work was
completed in April of
1996 in Ormond, Florida
and Fairport, New York.
--Sydney Hodkinson. A
shorter and less
stringent work than my
two previous quartets
(1992 and 1994), the
Fourth Quartet is
comprised, almost
obsessively, of the
interplay between two
thematic kernels: (1) a
5-note motto, announced
at the outset, derived
from pitches in my own
name; and (2) a brief
legato line of expressive
sevenths (minor/major),
which is itself born out
of the first cell.Â
Both of these fragments
constantly pervade the
entire work, albeit in
ever-changing raiment.The
piece is extremely
classical in design: four
movements played without
interruption –
slow/fast/slow/fast
– with the first
and third sections
alternating declamatory
and calmer gestures, and
the second and fourth
being, in effect, almost
variants of each
other.Quartet No. 4 is
approximately 20 minutes
in duration and each
movement, as noted, was
written in memory of dear
friends who passed away
during late 1995 and
early 1996. The work
was completed in April of
1996 in Ormond, Florida
and Fairport, New
York.—Sydney
Hodkinson.
Chamber Music String Quartet SKU: PR.114410380 Composed by Lowell Lieberm...(+)
Chamber Music String
Quartet
SKU:
PR.114410380
Composed
by Lowell Liebermann.
Saddle, Tape Junction.
Set of Score and Parts.
With Standard notation.
Composed 1998. Opus 60.
48 + 92 pages. Duration
30 minutes. Theodore
Presser Company
#114-41038. Published by
Theodore Presser Company
(PR.114410380).
UPC:
680160015160. 9.5 x 13
inches.
My second
String Quartet was
written twenty years
after the first, Opus 4
from 1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so. The
Second Quartet is in four
movements: Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement. An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no such
programmatic intent while
writing the quartet, it
was not an entirely
incorrect assessment of
the work's intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness. The
second movement's scherzo
is an aggressively
animated piece of musical
machinery. The third
movement's Variations
unfold into a greater
variety of moods than the
others - but the moments
of lyricism are countered
by aggressive or ironic
outbursts. The final
movement's attempt at
triumph quickly subsides
into a return of the
first movement, before
being transformed onto a
sense of resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major. The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th
1998. My second String
Quartet was written
twenty years after the
first, Opus 4 from
1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so.The
Second Quartet is in four
movements:Â Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement.An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no
such programmatic intent
while writing the
quartet, it was not an
entirely incorrect
assessment of the
work’s intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness.Â
The second
movement’s scherzo
is an aggressively
animated piece of musical
machinery. The third
movement’s
Variations unfold into a
greater variety of moods
than the others –
but the moments of
lyricism are countered by
aggressive or ironic
outbursts. The final
movement’s attempt
at triumph quickly
subsides into a return of
the first movement,
before being transformed
onto a sense of
resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major.The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th 1998.
Orchestra (Study Score) SKU: HL.49044525 Opera in One Act - Study Scor...(+)
Orchestra (Study Score)
SKU: HL.49044525
Opera in One Act -
Study Score. Composed
by Huw Watkins. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Wenn wir den
Ausgangspunkt von Thomas
Hardy Geschichte
betrachten, fuhlen wir
uns in die Gegenwart, zu
einem heutigen Blick auf
die Novelle
transportiert. Diese
Sicht verdeutlicht,
welche Macht der
menschliche Geist uber
die Handlungen einer
Person hat. E. Classical,
Contemporary, Opera.
Softcover. Composed
2011-2012. 156 pages.
Duration 45'. Schott
Music #ED13780. Published
by Schott Music
(HL.49044525).
ISBN
9790220135569. UPC:
888680080495.
8.25x11.75x0.388 inches.
English.
Taking
Thomas Hardy's short
story as its starting
point, we are transported
to the present for a
contemporary take on the
novella which explores
the power the mind can
have over that person's
actions. A closed door
sparks an obsession so
strong that the
boundaries between
reality and fantasy begin
to blur.Ella and her
high-finance husband
Stephen rent a room in a
holiday home on the
coast, owned by Susan.
Ella discovers that a
locked room in the house
is rented by a poet - Ben
Pascoe - whose work holds
a deep fascination for
her. The room is held for
Pascoe, though he visits
rarely.Ella's obsession
with Pascoe grows in
parallel with the
progress of Stephen's
biggest City deal. She
begins by imagining the
poet's voice as she reads
his work, but this
quickly grows to
fantasised encounters
with Pascoe in his locked
room. Stephen returns
from the City and makes
love to Ella, but it is
not him she wishes for.
We see the real Pascoe
only once, with Susan.As
Stephen's financial
dreams are realised and
Ella's fantasy consumes
her, she learns of
Pascoe's death. Despite
her changed
circumstances, Ella
chooses to stay in her
new world.