Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello
SKU:
PR.114420410
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Set of Score
and Parts.
30+10+8+10+12+10+10+10
pages. Duration 20
minutes. Theodore Presser
Company #114-42041.
Published by Theodore
Presser Company
(PR.114420410).
UPC:
680160687015.
In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch.
Concert Band Concert Band - Grade 1 SKU: FJ.B1662S Score Only. Com...(+)
Concert Band Concert Band
- Grade 1
SKU:
FJ.B1662S
Score
Only. Composed by
Mekel Rogers. Concert
Band. FJH Beginning Band.
Programmatic. Score.
Duration 1:45. The FJH
Music Company Inc
#98-B1662S. Published by
The FJH Music Company Inc
(FJ.B1662S).
English.
Incredi
bly clever and
cross-curricular! This
fast-paced work is filled
with hidden references to
prime numbers woven
throughout the piece.
Some are easy to find
(all rehearsal numbers
are prime and every
measure includes a prime
number of notes!), while
others are hidden deep in
the musical texture.
Comfortable ranges and
solid scoring allow
students to develop more
musical concepts as they
search the music for all
things prime. Amazingly
unique!
About FJH
Beginning
Band
Appro
priate within the first
year of instruction and
beginning of the second
year. Clarinets do not go
above the break, and
there is limited use of
accidentals. Plenty of
doublings in the lower
voices. Grade 1.
Choral (ShowTrax CD) SKU: HL.302314 From How to Train Your Dragon: The...(+)
Choral (ShowTrax CD)
SKU: HL.302314
From How to Train Your
Dragon: The Hidden
World. Composed by
Jon Thor Birgisson.
Arranged by Mac Huff. Pop
Choral Series. Movies,
Pop, Rock. CD. Duration
170 seconds. Published by
Hal Leonard (HL.302314).
UPC: 888680966881.
5.0x5.0x0.152
inches.
Jonsi, the
lead singer from
Icelandic rock band Sigur
Ros, and composer for the
How to Train Your Dragon
film series, takes us on
an ethereal and
bittersweet journey in
the third chapter, The
Hidden World.
Contemplating the nature
of endings and emotions,
this is a powerful
addition to your
concert!
Enigma Variations Orchestre d'harmonie [Conducteur] - Avancé Baton Music
By Edward Elgar (1857-1934). Arranged by Douglas McLain. For Concert Band. Opus ...(+)
By Edward Elgar
(1857-1934). Arranged by
Douglas McLain. For
Concert Band. Opus 36.
Grade 6. Full score only.
Duration 20 minutes.
Published by Baton Music
String Quartet SKU: HL.14041525 Composed by Per Norgard. Music Sales Amer...(+)
String Quartet
SKU:
HL.14041525
Composed
by Per Norgard. Music
Sales America.
Contemporary Music. Set
of Parts. Edition Wilhelm
Hansen #KP01585A.
Published by Edition
Wilhelm Hansen
(HL.14041525).
ISBN
9788759871829. UPC:
196288071020.
9.5x14.25x0.167 inches.
Danish-English.
Pro
gramme Note During the
composition of my tenth
string quartet a
flower-name, host-tidlos,
came to my mind - and it
would not me leave again.
[hosttidlos is actually
autumn crocus in English,
but the composer prefers
harvest-timeless, to
maintain some of the
associations of the
Danish flower-name, red.]
The paradoxical union of
a seasonal time (harvest)
and no-time-at-all was a
good fit to the sections
of the work that I had
composed at that time,
and I decided to
tentatively stick to that
title for the
work-in-progress, and
now, having finished the
piece, I can say that is
is still a fitting title
- and it stands. Enough
about the title, I will
go on to describe
themusic, a somewhat more
precarious project. My
tenth string quartet is
probably the most basic
string quartet that I
have composed:
melodically - and in
sound - it employs the
naturally based overtones
and undertones (perceived
at major and minor,
respectively), and
rhythmically it is based
on growth, on the
principles of the Golden
Section, and the
structure itself
contrasts abundance and
exuberance with sections
of immobility and
contemplation. However,
Melos, melody, is
definitely the dominating
aspect of my STRING
QUARTET NO. 10: behind
even the most
rhythmically complex or
pure sonoric sections
lies a firm - if hidden -
basis of melodic or
polyphonic ideas. The
work was composed in
2004-2005 for the Kroger
Quartet.
String
Quartet - Score.
Composed by Julia
Hodkinson. Music Sales
America. Classical,
Contemporary. Score.
Composed 2014. 20 pages.
Edition Wilhelm Hansen
#WH32129. Published by
Edition Wilhelm Hansen
(HL.14043251).
ISBN
9788759831380.
English.
Juliana
Hodkinson 's Is There
Something You Can Tell Us
for String Quartet. This
ten minute piece was
written for the Anima
Quartet and was
comissioned by SWR
(South-West German Radio)
for first performance at
Theaterhaus Stuttgart on
7th June 2014 during the
festival 'Lost & Found -
Stimme. Text. Szene.'.The
quartet's title and the
titles of the individual
movements are taken from
Cynthia Troup's libretto
'Turbulence'. I Degrees
of freedom II Hidden by
an almost perfect balance
III We are taught that it
is out of reach IV For
the real earth we do not
know yet.
Violin and Piano - Intermediate to Advanced SKU: FP.FZZ24 Composed by Var...(+)
Violin and Piano -
Intermediate to Advanced
SKU: FP.FZZ24
Composed by Various
Various. Published by
Forsyths Publications
(FP.FZZ24).
ISBN
979-0-57050-358-2.
An album of hidden gems
for violin by some of the
best British composers of
the modern era. Part of
the British Heritage
series dedicated to
increasing awareness of
the music of this
period.
Orchestra, Piano SKU: HL.50601101 Composed by Yehudi Wyner. Full Score. C...(+)
Orchestra, Piano
SKU:
HL.50601101
Composed
by Yehudi Wyner. Full
Score. Classical.
Softcover. 80 pages.
Associated Music
Publishers, Inc #AMP8320.
Published by Associated
Music Publishers, Inc
(HL.50601101).
ISBN
9781540005540. UPC:
888680711443. 11x14
inches.
Composer
note: The idea for a
piano concerto for the
Boston Symphony was
instigated by Robert
Levin, the great Mozart
scholar and pianist. The
idea was evidently
embraced by BSO Artistic
Administrator Tony Fogg
and supported by Music
Director James Levine.
Much of the concerto was
composed during the
summer of 2004 at the
American Academy in Rome
in a secluded studio
hidden within the Academy
walls. While much of the
composing took place far
from home, the concerto
comes out as a
particularly
“American”
piece, shot through with
vernacular elements. As
in many of my
compositions, simple,
familiar musical ideas
are the starting point. A
shape, a melodic
fragment, a rhythm, a
chord, a texture, or a
sonority may ignite the
appetite for exploration.
How such simple
insignificant things can
be altered, elaborated,
extended, and combined
becomes the exciting
challenge of composition.
I also want the finished
work to breathe in a
natural way, to progress
spontaneously,
organically, moving
toward a transformation
of the musical substance
in ways unimaginable to
me when I began the
journey. Transformation
is the goal, with the
intention of achieving an
altered state of
perception and exposure
that I am otherwise
unable to achieve.
“Chiavi in
mano” – the
title of the concerto
– is the mantra
used by automobile
salesmen and realtors in
Italy: Buy the house or
the car and the keys are
yours. But the more
pertinent reason for the
title is the fact that
the piano writing is
designed to fall
“under the
hand” and no matter
how difficult it may be,
it remains physically
comfortable and devoid of
stress. In other words:
“Keys in
hand.”
–Yehudi Wyner,
December 13, 2004.
Retrospektive Quatuor à cordes: 2 violons, alto, violoncelle Edition HH
String quartet SKU: HH.HH462-FSP Composed by Ming Wang. String Quartet. F...(+)
String quartet
SKU:
HH.HH462-FSP
Composed
by Ming Wang. String
Quartet. Full score and
parts. Edition HH Music
Publishers #HH462-FSP.
Published by Edition HH
Music Publishers
(HH.HH462-FSP).
ISBN
9790708146711.
Cica
da larvae live
underground for years,
creeping about slowly and
peacefully in the
darkness until that
sudden, beautiful brief
moment when, one warm,
damp summer’s eve,
they emerge,
metamorphosed into a
highly mobile life form.
Gaily they dance in the
sunshine, singing
ardently to the trees in
all their greenery ---
but only for a short
while, for, just as
suddenly, they are gone.
The same process repeats
year upon year. The life
cycle of this string
quartet resembles that of
the cicada. Initially,
two embryonic cells
remain hidden within
dense, gloomy
note-clusters; over time
they evolve into buds,
grow and then blossom.
They appear for the first
time in their adult form
in the fast middle
section, where they
assume the shape of two
very popular Chinese folk
melodies, Jasmine and Old
Six Blows, albeit in
wholly chromaticized and
defamiliarized variants.
After their grand
efflorescence, these
forms gradually dissolve
into transparent wisps of
sound.
Full Score SKU: HL.359057 For Violin and Small String Orchestra Full S...(+)
Full Score
SKU:
HL.359057
For
Violin and Small String
Orchestra Full Score.
Composed by William
Bolcom. E.B. Marks.
Softcover. 34 pages.
Edward B. Marks Music
#MP075008. Published by
Edward B. Marks Music
(HL.359057).
ISBN
9781705120941. UPC:
840126945119.
11.0x13.0x0.404
inches.
Composed
during the summer of 1964
at the Aspen Music
Festival, performed by
students under the
direction of Leonard
Slatkin. The composer
writes: “The first
movement has much the
feel of a Mozart string
divertimento. The
'distant relative' of the
second movement was
Richard Wagner, and there
are hidden quotations of
his work throughout. The
short scherzo movement,
which leads to a solo
lament, eventually lands
upon a light-hearted
rondo, unashamedly in G
major, a compositional
ploy that drew criticism
in its time.â€.
Unison children's choir, piano SKU: CA.1231600 Composed by Ingo Bredenbac...(+)
Unison children's choir,
piano
SKU:
CA.1231600
Composed
by Ingo Bredenbach. This
edition: Paperbound.
Children's music and
musicals. German title:
Max und Moritz. Songs for
children, Secular choral
music. Full score. 52
pages. Duration 30
minutes. Carus Verlag #CV
12.316/00. Published by
Carus Verlag
(CA.1231600).
ISBN
9790007087081. Language:
German. Text: Busch,
Wilhelm. Text: Wilhelm
Busch.
... those
who know Bredenbach's
Lustige Lieder, know that
his music isn't always
easy, which it doesn't
have to be! He
[Bredenbach] knows what
children are capable of
... The piece is fun:
first, because the story
is well-known; second,
because the melodies are
original and witty
(children have an
excellent sense for why
the melody must be
angular in certain
places, and why an
exploding pipe cannot be
set in decending major
thirds), third, because
hymns, folksongs, and
children's songs are
hidden everywhere, which
strengthen and underline
the comedy or joke in
each situation ...
(Wurtt. Blatter fur
Kirchenmusik 2/00).