Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 583 pages. Published by Hal Leonard.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

Arranged by Russell L. Robinson. For SSA Choir. Sheet Music. Published by Shawnee Press.

Chamber Music String Quartet

SKU: PR.114405050

Composed by John Downey. Set of Score and Parts. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505. Published by Theodore Presser Company (PR.114405050).

UPC: 680160008377. 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 efffect, 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 shorlines. 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 pluch 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 the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. 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 among 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 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.

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 Oboe, Piano, alto voice, bass voice, solo Voices, soprano voice, tenor voice

SKU: CF.CM9565

Composed by Michael John Trotta. E.e. cummings. Mjts. Performance Score. With Standard notation. 20 pages. Duration 5 minutes, 11 seconds. Carl Fischer Music #CM9565. Published by Carl Fischer Music (CF.CM9565).

ISBN 9781491153611. UPC: 680160911110. 6.75 x 10.5 inches. Key: E minor. English. Text: E.E. Cummings. E. e. cummings. E.e. cummings.

Trotta's unique juxtaposition of texts from the past (Requiem?text in the?Liber Usualis) with the present (e.e. cummings poem?i carry your heart) results in a compelling, lush composition accessible to mixed choirs of all sizes. With optional oboe and solo or small group, i carry your heart?is appropriate for concert, festival, retirement or a special tribute. It is certain to be adored and appreciated by all. Highly recommend!.
This piece incorporates the Introit from the Requiem in the Liber Usualis in the men's voices using the text by E. E. Cummings. The women's voices have original music that soars gracefully about the plainsong. The middle section features the Requiem text, set simply in a homophonic style. The final section blends the two styles into a prayer of thanks and remembrance. This beloved E.E. Cummings text was commissioned in honor and loving memory of Dr. Ferris Ohl (1914-2017) in thanks for over four decades of service to the Heidelberg University Music department. Director of Choral Activities Dr. Greg Ramsdell sought to pay tribute to the rich legacy of Dr. Ohl by having a setting of the text that broadened the scope of the message i carry your heart to include those who have come before us and who live on in our song.   INSERT GRAPHIC HERE - I e mailed you on 5-14.
This piece incorporates theA IntroitA from theA RequiemA in theA Liber UsualisA in the men's voices using the text by E. E. Cummings. The women's voices have original music that soars gracefully about the plainsong. The middle section features theA RequiemA text, set simply in a homophonic style. The final section blends the two styles into a prayer of thanks and remembrance. This beloved E.E. Cummings text was commissioned in honor and loving memory of Dr. Ferris Ohl (1914-2017) in thanks for over four decades of service to the Heidelberg University Music department. Director of Choral Activities Dr. Greg Ramsdell sought to pay tribute to the rich legacy of Dr. Ohl by having a setting of the text that broadened the scope of the message i carry your heart to include those who have come before us and who live on in our song.   INSERT GRAPHIC HERE - I e mailed you on 5-14.
This piece incorporates theA IntroitA from theA RequiemA in theA Liber UsualisA in the men's voices using the text by E. E. Cummings. The women's voices have original music that soars gracefully about the plainsong. The middle section features theA RequiemA text, set simply in a homophonic style. The final section blends the two styles into a prayer of thanks and remembrance. This beloved E.E. Cummings text was commissioned in honor and loving memory of Dr. Ferris Ohl (1914-2017) in thanks for over four decades of service to the Heidelberg University Music department. Director of Choral Activities Dr. Greg Ramsdell sought to pay tribute to the rich legacy of Dr. Ohl by having a setting of the text that broadened the scope of the message i carry your heart to include those who have come before us and who live on in our song.   INSERT GRAPHIC HERE - I e mailed you on 5-14.
This piece incorporates the Introit from the Requiem in the Liber Usualis in the men's voices using the text by E. E. Cummings. The women's voices have original music that soars gracefully about the plainsong. The middle section features the Requiem text, set simply in a homophonic style. The final section blends the two styles into a prayer of thanks and remembrance. This beloved E.E. Cummings text was commissioned in honor and loving memory of Dr. Ferris Ohl (1914-2017) in thanks for over four decades of service to the Heidelberg University Music department. Director of Choral Activities Dr. Greg Ramsdell sought to pay tribute to the rich legacy of Dr. Ohl by having a setting of the text that broadened the scope of the message i carry your heart to include those who have come before us and who live on in our song.   INSERT GRAPHIC HERE - I e mailed you on 5-14.
This piece incorporates the Introit from the Requiem in the Liber Usualis in the men's voices using the text by E. E. Cummings. The women's voices have original music that soars gracefully about the plainsong. The middle section features the Requiem text, set simply in a homophonic style. The final section blends the two styles into a prayer of thanks and remembrance. This beloved E.E. Cummings text was commissioned in honor and loving memory of Dr. Ferris Ohl (1914-2017) in thanks for over four decades of service to the Heidelberg University Music department. Director of Choral Activities Dr. Greg Ramsdell sought to pay tribute to the rich legacy of Dr. Ohl by having a setting of the text that broadened the scope of the message i carry your heart to include those who have come before us and who live on in our song.   INSERT GRAPHIC HERE - I e mailed you on 5-14.
This piece incorporates the Introit from the Requiem in the Liber Usualis in the men's voices using the text by E. E. Cummings. The women's voices have original music that soars gracefully about the plainsong. The middle section features the Requiem text, set simply in a homophonic style. The final section blends the two styles into a prayer of thanks and remembrance.This beloved E.E. Cummings text was commissioned in honor and loving memory of Dr. Ferris Ohl (1914-2017) in thanks for over four decades of service to the Heidelberg University Music department.Director of Choral Activities Dr. Greg Ramsdell sought to pay tribute to the rich legacy of Dr. Ohl by having a setting of the text that broadened the scope of the message i carry your heart to include those who have come before us and who live on in our song. INSERT GRAPHIC HERE - I e mailed you on 5-14.

Mixed choir (SAB or SATB) (CHP) - easy to intermediate

SKU: HL.49033374

Trost und Hoffnung. Composed by Klaus Heizmann. Edited by Klaus Heizmann. This edition: Saddle stitching. Sheet music. Edition Schott. Choral Score. 72 pages. Schott Music #ED 9885. Published by Schott Music (HL.49033374).

ISBN 9790001139397. 8.25x11.75x0.226 inches. German.

Choral societies and church choirs often sing at funerals of their members or on occasions such as Remembrance Day and are therefore looking for good and easy tunes which can be quickly rehearsed. This varied and tasteful collection of 36 old and new songs offers a suitable repertoire for all kinds of funeral services in editions for three- or four-part mixed choir, women's or men's choir.

Choir Secular Double Choir and Violoncello

SKU: PE.EP73479

Composed by Francis Pott. Choral Works (inc. Oratorios). Edition Peters. Living Composer. Vocal Score. 164 pages. Edition Peters #98-EP73479. Published by Edition Peters (PE.EP73479).

ISBN 9790577019888. 297 x 210mm inches. English.

At First Light was commissioned by Eric Bruskin, a resident of Philadelphia, USA, in memory of his mother. Eric had a longstanding enthusiasm for my work, and I was touched to be the person he approached for a task which is both a privilege and a daunting responsibility. In a sense, no music can ever measure up to the weight of love or the hope of consolation vested in it under such circumstances - but in memory I carry the deaths of both my own parents, and I was able to draw upon that. Eric's fondness for my Cello Sonata (itself written in memoriam) led him to ask that I include a solo 'cello part in the new work - but his attachment also to my polyphonic sacred choral writing meant that he wanted a centrepiece which would be both a showcase of that approach and the celebration of a life well lived. Therefore, the seven movements of At First Light arrange themselves as a series of slow meditations surrounding an exuberant 9-minute motet in which the lamenting cello falls temporarily silent.

Eric's Jewish faith meant that approaching an agnostic humanist brought up within the Anglican tradition was hardly free of problems! Gradually, though, I was able to win his approval for a collated mosaic of texts. This embraces some liturgical Latin (necessary for the motet) as the shared preserve of broad western culture in general, but balances it with a secular approach to loss, celebration, remembrance and the many shades of our mourning those whom we see no longer. Eric was adamant that he did not want the title Requiem; but what has emerged is still a form of semi-secular Requiem in all but name, taking its title instead from a phrase in the poem by Thomas Blackburn set as the third movement. This seemed to suggest succinctly how the loss of one very close to us is an awakening into an unfamiliar world where everything is changed. Following the exuberant central movement, the texts by the Lebanese-born Kahlil Gibran and the US, Kentuckian poet Wendell Berry first address the departed loved one directly, then place us within an imaginary funeral cortege, where the perennial and universal in human experience become personal without subscribing explicitly to any particular faith (or lack of it). The final text of all is a translation of a Hebraic prayer, requested and provided by Eric Bruskin, which serves to mirror its Latin counterpart heard at the outset.

Throughout , the lamenting cello represents a commentary on the experience articulated in the text. It evokes and, in a sense, tries to embrace and sanctify the individual existential journeys of the bereft, as they in turn seek to make their own sense of what the short-lived Second World War poet Alun Lewis called 'the unbearable beauty of the dead' (movement 5).

In a modern world hostage to ever greater menace, displacement, bloodshed and anguish, I hope fervently that this music not only brings a measure of solace to the person who commissioned it, but also makes its own small contribution to bailing out the sinking ship of humanity.

(75 Favorite Songs of Worship). For "voice, piano, guitar". PVC songbook. Published by Music Sales

Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.44641192L

For 5 Percussionists and Orchestra. Composed by Ellen Taaffe Zwilich. Contemporary. Large Score. With Standard notation. Composed 2003. 72 pages. Duration 30 minutes. Theodore Presser Company #446-41192L. Published by Theodore Presser Company (PR.44641192L).

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.

Fanfare Band - Grade 4

SKU: BT.DHP-1135396-020

Composed by Jacob De Haan. Concert and Contest Collection Brass Band en Fanfare. Concert Piece. Set (Score & Parts). Composed 2013. De Haske Publications #DHP 1135396-020. Published by De Haske Publications (BT.DHP-1135396-020).

9x12 inches. English-Dutch.

This musical fantasy depicts the history of the Dutch fortified town of Elburg. The work begins with an atmospheric medieval picture of the Convent of St Agnes, the nunnery that was built in the first half of the 15th century. We hear the sound of the convent bells together with an upward motif, which will reappear later in the work. Next, the rest of Elburg is featured, including the fortress - from which the bells of the Sint-Nicolaaskerk (Saint Nicholas Church) are ringing. Then, cheerful sounds can be heard at the Vischpoort (Fish Gate), where a dancing group is performing a 16th century French folk dance (a branle des chevaux). We also hear old wagons rumbling over the town’scobble stones. Trade made this Hanseatic town a lively place. The repetitive upward motif first heard in the introduction now develops into a more distinct feature, reflecting the mercantile spirit of the town residents.Then follows the slow middle movement, in which the clock has been turned back to the time when Elburg was still lying on the Zuiderzee (which was a bay of the North Sea), and was struggling with floods. After the second St. Marcellus Flood (1362) and the water flood of 1367 it was decided that the town would be relocated. We now hear the theme of branle des chevaux in a minor key, followed by a death bell sounding in remembrance of the drowned citizens of the former town. Back in our own time, a slow, expressive theme in Baroque style mirrors Elburg’s tranquil places, such as the Feithenhof (Feithen Court) and the Weduwenhofje (Widow Court). Then the bustle returns with motifs from the introduction, followed by an attractive theme in which present-day Elburg is portrayed with its many tourists. Now, suddenly, there is an echo from the past, depicting the dramatic floods and wars that once plagued the town. This leads to the grand closing theme: branle des chevaux is heard for a final time from the perspective of the historic town centre.

Deze muzikale fantasie vertelt de geschiedenis van de Nederlandse vestingstad Elburg. Het werk begint met een middeleeuws sfeerbeeld vanuit het Agnietenklooster, het nonnenklooster dat in de eerste helft van de 15e eeuw werd gebouwd. We horen de kloosterklok samen met een opwaarts motief, dat ook later in het werk terugkomt. Vervolgens komt de rest van Elburg aan bod, inclusief de vesting - van waaruit de klokken van de Grote of Sint-Nicolaaskerk weergalmen. Dan klinken bij de Vischpoort de vrolijke geluiden van een dansgroep die daar een 16e-eeuwse Franse volksdans (branle des chevaux) uitvoert. Ook horen we oude karren over de kinderkopjes van de stad denderen. Dehandel maakt deze Hanzestad tot een levendige plaats. Het zich steeds herhalende opwaartse motief uit de inleiding krijgt hier een nadrukkelijker karakter en verbeeldt de handelsgeest van de stedelingen.Dan volgt het langzame middendeel, waarin de klok wordt teruggedraaid naar de tijd dat Elburg nog direct aan de Zuiderzee lag en te kampen had met overstromingen. Na de tweede Sint-Marcellusvloed (1362) en de watervloed van 1367 werd besloten dat de stad verplaatst zou worden. We horen het thema van de branle des chevaux in mineur, gevolgd door een doodsklok, die de verdronken inwoners van de voormalige stad herdenkt. Terug in onze eigen tijd verklankt een langzaam, expressief thema in barokke stijl de verstilde plekken in de stad, zoals het Feithenhof en het Weduwenhofje. Dan keert de levendigheid terug met motieven uit de inleiding, gevolgd door een aansprekend thema waarin het Elburg van nu met zijn vele toeristen doorklinkt. Plotseling is er dan nog even een echo uit het verleden: de dramatiek van de overstromingen en oorlogen die de stad ooit teisterden. Hieruit vloeit het grootse slotthema voort: de branle des chevaux is voor de laatste keer te horen vanuit het perspectief van de historische binnenstad.

Fanfare Band - Grade 4

SKU: BT.DHP-1135396-120

Composed by Jacob De Haan. Concert and Contest Collection Brass Band en Fanfare. Concert Piece. Score Only. Composed 2013. 52 pages. De Haske Publications #DHP 1135396-120. Published by De Haske Publications (BT.DHP-1135396-120).

9x12 inches. English-Dutch.

This musical fantasy depicts the history of the Dutch fortified town of Elburg. The work begins with an atmospheric medieval picture of the Convent of St Agnes, the nunnery that was built in the first half of the 15th century. We hear the sound of the convent bells together with an upward motif, which will reappear later in the work. Next, the rest of Elburg is featured, including the fortress - from which the bells of the Sint-Nicolaaskerk (Saint Nicholas Church) are ringing. Then, cheerful sounds can be heard at the Vischpoort (Fish Gate), where a dancing group is performing a 16th century French folk dance (a branle des chevaux). We also hear old wagons rumbling over the town’scobble stones. Trade made this Hanseatic town a lively place. The repetitive upward motif first heard in the introduction now develops into a more distinct feature, reflecting the mercantile spirit of the town residents.Then follows the slow middle movement, in which the clock has been turned back to the time when Elburg was still lying on the Zuiderzee (which was a bay of the North Sea), and was struggling with floods. After the second St. Marcellus Flood (1362) and the water flood of 1367 it was decided that the town would be relocated. We now hear the theme of branle des chevaux in a minor key, followed by a death bell sounding in remembrance of the drowned citizens of the former town. Back in our own time, a slow, expressive theme in Baroque style mirrors Elburg’s tranquil places, such as the Feithenhof (Feithen Court) and the Weduwenhofje (Widow Court). Then the bustle returns with motifs from the introduction, followed by an attractive theme in which present-day Elburg is portrayed with its many tourists. Now, suddenly, there is an echo from the past, depicting the dramatic floods and wars that once plagued the town. This leads to the grand closing theme: branle des chevaux is heard for a final time from the perspective of the historic town centre.

Deze muzikale fantasie vertelt de geschiedenis van de Nederlandse vestingstad Elburg. Het werk begint met een middeleeuws sfeerbeeld vanuit het Agnietenklooster, het nonnenklooster dat in de eerste helft van de 15e eeuw werd gebouwd. We horen de kloosterklok samen met een opwaarts motief, dat ook later in het werk terugkomt. Vervolgens komt de rest van Elburg aan bod, inclusief de vesting - van waaruit de klokken van de Grote of Sint-Nicolaaskerk weergalmen. Dan klinken bij de Vischpoort de vrolijke geluiden van een dansgroep die daar een 16e-eeuwse Franse volksdans (branle des chevaux) uitvoert. Ook horen we oude karren over de kinderkopjes van de stad denderen. Dehandel maakt deze Hanzestad tot een levendige plaats. Het zich steeds herhalende opwaartse motief uit de inleiding krijgt hier een nadrukkelijker karakter en verbeeldt de handelsgeest van de stedelingen.Dan volgt het langzame middendeel, waarin de klok wordt teruggedraaid naar de tijd dat Elburg nog direct aan de Zuiderzee lag en te kampen had met overstromingen. Na de tweede Sint-Marcellusvloed (1362) en de watervloed van 1367 werd besloten dat de stad verplaatst zou worden. We horen het thema van de branle des chevaux in mineur, gevolgd door een doodsklok, die de verdronken inwoners van de voormalige stad herdenkt. Terug in onze eigen tijd verklankt een langzaam, expressief thema in barokke stijl de verstilde plekken in de stad, zoals het Feithenhof en het Weduwenhofje. Dan keert de levendigheid terug met motieven uit de inleiding, gevolgd door een aansprekend thema waarin het Elburg van nu met zijn vele toeristen doorklinkt. Plotseling is er dan nog even een echo uit het verleden: de dramatiek van de overstromingen en oorlogen die de stad ooit teisterden. Hieruit vloeit het grootse slotthema voort: de branle des chevaux is voor de laatste keer te horen vanuit het perspectief van de historische binnenstad.

SATB and Organ. By Benjamin Britten. (SATB). Boosey and Hawkes Sacred Choral. Size 7.25x10.25 inches. 12 pages. Published by Boosey and Hawkes.

Choral TBB choir, piano

SKU: CF.CM9777

Composed by Matthew Emery. Duration 4 minutes, 8 seconds. Carl Fischer Music #CM9777. Published by Carl Fischer Music (CF.CM9777).

ISBN 9781491164488. UPC: 680160923380. Key: Bb major. English. Marjorie Pickthall.

Text: excerpt from Brading by Marjorie PickthallHere, where the legions parted; Here, where the shields were laid, Wild orchid, honey-hearted, Grows in the wind-swept shade.Here, where the soldiers rested; Here, where they set their spears, The little larks, brown-breasted, Fall down like falling tears.Here, where the swords came after; Here, where the ships went by,The sea-winds send their laughter Between the downs and the sky.Program note:Between the downs and the sky is a meditation on the text and the notion of here. Reflective and commemorative in nature, the poem speaks to themes of remembrance and our shared connections to humanity translated through the natural world. Pickthall pairs anthropomorphized images of nature against the impacts of human violence and strife.I am drawn to the location-less setting of “here”. We are left with a certain placeless-ness in the poem. “Here” could mean anywhere and everywhere; it could also mean right in front of us in this exact moment. “Here” is also a call to attention, here where we witness, where we notice, where we are called to. Here, where we love, where we mourn, where we hope to become whole.Musically, “here” is metamorphosed through various ostinati gestures as if to depict memory, reflections, echoes which reverberate long after the initial source, a heart beat, relentless waves pounding shores, etc. The work also juxtaposes extreme high and low registers particularly in the piano writing to capture the title image of the “here” found in-between the downs and the sky.The work moves in and out of unison, two part, and optional three part writing; from m. 45 to the end, the middle line baritone part is completely optional. The music functions the same with or without the inner voice part. This is done to aid in the accessibility of the work, to make the music as approachable and successful to groups of all abilities.

Choral (SATB)

SKU: HL.2050301

Praise Gathering Choral. Easter. Softcover. 96 pages. Duration 2280 seconds. PraiseGathering #A08452. Published by PraiseGathering (HL.2050301).

UPC: 797242269899. 6.75x10.5x0.221 inches.

The haunting words reach to us from antiquity.“The Lord Jesus, on the night He was betrayed, took bread, and when He had given thanks, He broke it and said, 'This is My body, which is for you; do this in remembrance of Me.' In the same way, after supper He took the cup, saying, 'This cup is the new covenant in My blood; do this, whenever you drink it, in remembrance of Me.' For whenever you eat this bread and drink this cup, you proclaim the Lord's death until He comes.” - I Corinthians 11:23-26Remember. Remember. As commanded, the Israelites have retold the story of the faithfulness of their God for centuries. They have recounted how the blood of the lamb protected them from the angel of death. The world is on the brink of eternal change now, because it is Jesus, the Christ who is saying remember. Remember the things I taught you, remember the trials and the triumphs, remember the promises and the prayers, remember the bread and the wine. God will reclaim His people and it will be forever inscribed on their hearts, sealed by the Master, in His own blood. Remember. Once you encounter the Master, how could you ever forget?