Traditional, Wire bound,
Celtic. Folk. Book and
online audio. 216 pages.
Mel Bay Publications, Inc
#WBM58M. Published by Mel
Bay Publications, Inc
(MB.WBM58M).
ISBN
9781736363058. 8.75x11.75
inches.
A
comprehensive collection
of 172 guitar solos for
the flatpick or plectrum
guitarist. All solos are
written in standard
notation with
accompanying online
recordings by the author.
The solos include
beautiful American,
British and Celtic airs
and ballads, Celtic dance
tunes, lute and early
music, popular classical
repertoire and
contemporary etudes.
Includes access to online
audio.
Chamber Music Clarinet Trio SKU: PR.114424090 Composed by Igor Stravinsky...(+)
Chamber Music Clarinet
Trio
SKU:
PR.114424090
Composed
by Igor Stravinsky.
Arranged by Gregory
Barrett. Set of Score and
Parts. 8+16 pages.
Duration 5 minutes.
Theodore Presser Company
#114-42409. Published by
Theodore Presser Company
(PR.114424090).
ISBN
9781491137383. UPC:
680160690107.
Strav
insky’s 1918 Three
Pieces for Solo Clarinet
has long been savored by
clarinetists as a rare
gem in the
instrument’s
repertory, full of
rhythmic drive and
Stravinsky’s jazzy
neo-classicism. Composer
and clarinetist Gregory
M. Barrett’s
remarkable adaptation for
3 clarinets is a tour de
force, assimilating
Stravinsky’s
harmonic, rhythmic, and
contrapuntal style to
create a striking
addition to the clarinet
literature. Igor
Stravinsky’s Three
Pieces for Solo Clarinet
(1918) is a core work in
clarinetists’
repertoire, and I
havereimagined it for the
convivial grouping of
three players. The
arrangement contains all
of
Stravinsky’sorigin
al, but now his solo line
is shared among three in
a new matrix of harmony,
imitation,
andcounterpoint.The molto
tranquillo first piece
develops from the
emphasized C# in
Stravinsky’s first
measure andmoves to a
somewhat somber mood when
C# is revealed to be the
dominant of F# minor.
Withincreasing expansion
of tessitura in the
sustained harmonies, the
sun comes out in the last
phrase with ajoyous Eb
major chord.The
circus-like second piece
finds the three clarinets
whirling in the air in
synchronized trapeze
artiststyle. The emphasis
is on imitation and fluid
hand-offs. Chords with
major 7ths and 2nds
contrast withtriadic
harmony. Following the
cat and mouse middle
section, where dancing
patterns of twos
andthrees alternate, the
summit of the big top is
reached again just before
the players settle down
to earthwith a welcome C
major chord of
respite.The ragtime
burlesque of
Stravinsky’s third
piece is heightened by
homophonic rhythm among
the threeplayers. Each
clarinet part has its own
specialty. Clarinet 1
loves 32nd notes,
Clarinet 2 shows off with
fasttriplets, and
Clarinet 3 likes the low
notes and in general
supporting its friends.
Quartal harmony
withstacked 4ths is
emphasized, but where
Stravinsky’s
melody suggests triads, I
have taken his hint.
Thepropulsive rhythms are
truly exciting, and with
the wink of an eye, the
music ends all too
soon.
Mass in A-Flat Major Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Clavier [Partition] Alfred Publishing
By Franz Schubert. For Orch. (SATB divisi with SATB Soli). Choral Worship Canta...(+)
By Franz Schubert. For
Orch. (SATB divisi with
SATB Soli). Choral
Worship Cantata. Kalmus
Edition. Masterwork;
Sacred. Book. 108 pages.
Published by Alfred
Publishing.
Clarinet and piano SKU: BR.EB-8899 Composed by Adolf Busch. Edited by Bet...(+)
Clarinet and piano
SKU: BR.EB-8899
Composed by Adolf Busch.
Edited by Bettina
Beigelbeck. Solo
instruments; stapled.
Edition Breitkopf.
Sonata; Early modern.
Score. 64 pages. Duration
28'. Breitkopf and
Haertel #EB 8899.
Published by Breitkopf
and Haertel (BR.EB-8899).
ISBN 9790004185261. 9
x 12
inches.
Brahms,
Reger and the
consequences Adolph Busch
had already emigrated to
the United States when he
wrote the A-Major
Clarinet Sonata . Shortly
thereafter he revised the
work once again until it
was completed in its
final form in spring
1941. Busch, a brilliant
and sought-after solo
violinist of the 1920s
and 30s, concertized
regularly in England and
had become friends there
with the clarinetist
Reginald Kells, to whom
he also dedicated the
piece in three movements.
Demanding in its musical
idiom and no doubt
inspired by the
expressive playing of his
friend, the sonata
evidences a strong
proximity to the works of
Brahms and Reger. A long
and demanding piece,
edited with great care -
a valuable addition to
the repertoire for A
clarinet. (Luigi
Magistrelli, The
Clarinet).
Viola, Piano SKU: HU.HN785 Piano reduction. Composed by Max Bruch. Edited by No...(+)
Viola, Piano
SKU: HU.HN785
Piano reduction. Composed
by Max Bruch. Edited by
Norbert Gertsch. Strings,
Repertoire, Solos.
Romance for Viola and
Orchestra in F major Op.
85. Softcover Book. 24
pages. G. Henle #HN785.
Published by G. Henle
(HU.HN785).
12.2 x 9.2 x 0.1 inches.
Composed by
Ethan Sperry. Duration 5
minutes. Carl Fischer
Music #CM9792. Published
by Carl Fischer Music
(CF.CM9792).
ISBN
9781491164631. UPC:
680160923540. Key: A
major. English. Coty
Raven Morris.
Original.
The text
for Dust came to me
in a season of
reflection. As educators
and mentors to the
generations that come
after us, we have a
responsibility to provide
tools so that others can
shape their future.
Overtime, it can become
easy to lose one's
personal vision for one's
self when influenced by
so many outside factors.
When the pressure builds,
it can almost feel like a
self-reckoning; an
opportunity to build
ourselves again. Though
we are influenced by our
surroundings, we are all
unique in our purpose and
design!These questions of
self-reflection came
first:How much of me
flows from their
blood?How much of me is
built of their flesh?How
much of me is manifested
from their dreams?And
just like our own
identities, the rest of
the poem begin to take
shape. I hope that this
text speaks to you
wherever you are in your
discovery and journey to
your most authentic
self.DustI am
rubbleCarved into my
ruins, you will find my
ancestry interwoven with
my identityHow much of me
flows from their
blood?How much of me is
built of their flesh?How
much of me is manifested
from their dreams?The
only way to my truth is
through my foundationI
rage against those who
would dare covet this
sacred spaceI am the
temple and the
monumentThis is holy
ground.I must demolish
myself.Tear down the
walls that have held up
your visions and
destroyed mine.I must
restore myself in my own
image.And when the dust
settles, you can see my
bones.Pillars of
strength, marble, and
earthWalls painted with
my blood, cracked with
time, polished like my
skin(Golden)I will not be
complete, but I will be
homethe dust settlesAnd
we build
again—Coty Raven
Morris    Â
 .
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Bach's manuscript
leaves several questions
unanswered.
Solo
concerto; Baroque. Part.
8 pages. Duration 16'.
Breitkopf and Haertel #OB
5354-26. Published by
Breitkopf and Haertel
(BR.OB-5354-26).
ISBN
9790004337868. 10 x 12.5
inches.
When an
editorial formula proves
to be as compelling as in
the case of the E-major
Concerto BWV 1042, then
its obvious that it is
going to be applied
again: this time to Klaus
Hofmanns new Urtext
edition of the A-minor
Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music.
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Bach's manuscript
leaves several questions
unanswered.
Solo
concerto; Baroque. Full
score. 24 pages. Duration
16'. Breitkopf and
Haertel #PB 5354.
Published by Breitkopf
and Haertel (BR.PB-5354).
ISBN 9790004211533. 9
x 12 inches.
When
an editorial formula
proves to be as
compelling as in the case
of the E-major Concerto
BWV 1042, then its
obvious that it is going
to be applied again: this
time to Klaus Hofmanns
new Urtext edition of the
A-minor Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music.
Bac
h's manuscript leaves
several questions
unanswered.
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Bach's manuscript
leaves several questions
unanswered.
Solo
concerto; Baroque. Part.
12 pages. Duration 16'.
Breitkopf and Haertel #OB
5354-12. Published by
Breitkopf and Haertel
(BR.OB-5354-12).
ISBN
9790004337820. 10 x 12.5
inches.
When an
editorial formula proves
to be as compelling as in
the case of the E-major
Concerto BWV 1042, then
its obvious that it is
going to be applied
again: this time to Klaus
Hofmanns new Urtext
edition of the A-minor
Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music.
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Bach's manuscript
leaves several questions
unanswered.
Solo
concerto; Baroque. Part.
8 pages. Duration 16'.
Breitkopf and Haertel #OB
5354-19. Published by
Breitkopf and Haertel
(BR.OB-5354-19).
ISBN
9790004337851. 10 x 12.5
inches.
When an
editorial formula proves
to be as compelling as in
the case of the E-major
Concerto BWV 1042, then
its obvious that it is
going to be applied
again: this time to Klaus
Hofmanns new Urtext
edition of the A-minor
Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music.
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Bach's manuscript
leaves several questions
unanswered.
Solo
concerto; Baroque. Part.
8 pages. Duration 16'.
Breitkopf and Haertel #OB
5354-15. Published by
Breitkopf and Haertel
(BR.OB-5354-15).
ISBN
9790004337837. 10 x 12.5
inches.
When an
editorial formula proves
to be as compelling as in
the case of the E-major
Concerto BWV 1042, then
its obvious that it is
going to be applied
again: this time to Klaus
Hofmanns new Urtext
edition of the A-minor
Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music.
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Bach's manuscript
leaves several questions
unanswered.
Solo
concerto; Baroque. Part.
8 pages. Duration 16'.
Breitkopf and Haertel #OB
5354-16. Published by
Breitkopf and Haertel
(BR.OB-5354-16).
ISBN
9790004337844. 10 x 12.5
inches.
When an
editorial formula proves
to be as compelling as in
the case of the E-major
Concerto BWV 1042, then
its obvious that it is
going to be applied
again: this time to Klaus
Hofmanns new Urtext
edition of the A-minor
Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music.
Composed by
Jimmy Baas. Sws.
Performance Score. 16
pages. Duration 3
minutes, 49 seconds. Carl
Fischer Music #CM9625.
Published by Carl Fischer
Music (CF.CM9625).
ISBN 9781491156988.
UPC: 680160915545. 6.875
x 10.5 inches. Key: Bb
major. English, English.
William Butler
Yeats.
The
Everlasting Voices is the
perfect blend of textural
variety and harmonic
interest for the advanced
treble ensemble.
Employing a powerful
text, Baas' vocal
layering coupled with
piano and optional cello
make this compelling
piece a programming
must!. O sweet
everlasting Voices, be
still; Go to the guards
of the heavenly fold And
bid them wander obeying
your will, Flame under
flame, till Time be no
more; Have you not heard
that our hearts are old,
That you call in birds,
in wind on the hill, In
shaken boughs, in tide on
the shore? O sweet
everlasting Voices, be
still. This SSAA choral
work by Jimmy Baas was
comissioned by the
Lumberton HS Varsity
Treble Choir. The opening
and closing lines of the
poem, O sweet everlasting
voices, be still provide
the perfect bookends for
two larger sections of
the poem. These two
sections are equally
divided into verses. The
opening line is used once
again as a transition
between the verses. The
previously mentioned
lines, O sweet
everlasting voices, are
overlapped as different
layers of voices enter
and sustain. A fifth and
sixth voice, the cello
and piano accompaniment
take part in these layers
as well. The words be
still are very much a
part of the mood each
time as the everlasting
voices become quiet and
still. The two verses
feature different voices
within the SSAA choir.
Verse 1, the sopranos,
and verse 2 the altos.
There are many moments in
this piece to explore the
full range and color of
the SSAA choir. The piano
and cello play an
important part
throughout, making this
piece an excellent choice
for any festival women's
chorus. O sweet
everlasting Voices, be
still;Go to the guards of
the heavenly foldAnd bid
them wander obeying your
will,Flame under flame,
till Time be no more;Have
you not heard that our
hearts are old,That you
call in birds, in wind on
the hill,In shaken
boughs, in tide on the
shore?O sweet everlasting
Voices, be still.This
SSAA choral work by Jimmy
Baas wascomissioned by
the Lumberton HS Varsity
Treble Choir.The opening
and closing lines of the
poem, “O
sweeteverlasting voices,
be still†provide
the perfect bookendsfor
two larger sections of
the poem. These two
sectionsare equally
divided into verses. The
opening line is usedonce
again as a transition
between the verses.The
previously mentioned
lines, “O sweet
everlastingvoices,â€
are overlapped as
different layers of
voices enterand sustain.
A fifth and sixth voice,
the cello and
pianoaccompaniment take
part in these layers as
well.The words “be
still†are very
much a part of the
moodeach time as the
everlasting voices become
quietand still.The two
verses feature different
voices within the
SSAAchoir. Verse 1, the
sopranos, and verse 2 the
altos. Thereare many
moments in this piece to
explore the full range
andcolor of the SSAA
choir. The piano and
cello play an
importantpart throughout,
making this piece an
excellent choice for
anyfestival
women’s
chorus.
Band Concert Band - Grade 2 SKU: CF.YPS215 Composed by Sean O'Loughlin. Y...(+)
Band Concert Band - Grade
2
SKU: CF.YPS215
Composed by Sean
O'Loughlin. Young Band
(YPS). Set of Score and
Parts. With Standard
notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+2+2+4+12+20+4
pages. Duration 3:15.
Carl Fischer Music
#YPS215. Published by
Carl Fischer Music
(CF.YPS215).
ISBN
9781491152348. UPC:
680160909841. Key: Bb
major.
Beyond the
Crest is an exciting
piece that captures the
essence of Sean
O'Loughlin's popular
style. The piece opens
with a slow, soaring
melody that develops
throughout the
composition. Pulsating
eighth notes build the
tension and intense
harmonies drive the piece
to a satisfying and
dynamic ending. Beyond
the Crest was
commissioned by the
Lakeshore Bands of
Stevensville, Michigan,
and dedicated to Philip
and Cindy Huff, Directors
of Bands, in honor of
their retirement. The
piece captures the
excitement and
achievement that defined
Philip and Cindy Huff's
illustrious careers. The
piece opens with a slow,
soaring melody that will
become the basis of the
entire composition. It
builds to an intense
chord at m. 13 that sets
off into the fast section
at m. 14. This section
begins with some
eighth-note pulses. The
woodwinds have more
eighth notes than the
rest of the ensemble to
create an echo effect.
Bring out the dynamics to
highlight this. The main
melody comes in at m. 33,
which is a faster version
of the opening melody. It
is complimented by some
eighth-note punches and
lush chords. The
woodwinds take over at m.
43 with a much broader
accompaniment in the
lower voices. The lower
voices get their chance
at the melody at m. 54.
The echo effect returns
at m. 68 to start the
cycle over again but this
time with some new
wrinkles. Measure 77
transports to a new tonal
center and then brings it
back to a broad
presentation at m. 85.
The eighth notes
return to bring the piece
to an exciting end.
18 Tuneful and Jazzy Pieces for the Beginner Cellist. By Richard Kershaw. Fenton...(+)
18 Tuneful and Jazzy
Pieces for the Beginner
Cellist. By Richard
Kershaw. Fenton Play
Along Books. Book and CD
Package. Size 9x12
inches. 37 pages.
Published by Fentone
Music.
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin
SKU: PR.144407530
Composed by Lauren
Bernofsky. 12 pages.
Duration 10 minutes, 30
seconds. Merion Music
#144-40753. Published by
Merion Music
(PR.144407530).
ISBN
9781491136614. UPC:
680160687992.
A
violinist herself, Lauren
Bernofsky has described
SONATA FOR SOLO VIOLIN as
drawn from
autobiographical
inspiration, including
gestures from Bachâ??s
beloved Partita in E
Major. Bernofsky opens
with a Preludio movement
whose references to Bach
may be disguised, but
they are surely lurking.
The second movement is
lusciously contrapuntal
with the idiomatic
finesse of a violinist
composing for her own
instrument, while
musically journaling the
emotional pain of living
through 2020. The third
and final movement is
aptly marked
â??white-hot,â? and
the music certainly
is. My SONATA FOR SOLO
VIOLIN was commissioned
by violinist Megan Healy
as part of The Maud
Powell Project, which
celebrated the 100th
anniversary of the
ratification of the 19th
Amendment. The project
included the creation of
five new works for solo
violin inspired by and
dedicated to the memory
of pioneering American
violinist Maud Powell
(1867-1920). Healy
premiered the sonata on
May 8, 2021 at PianoForte
Studios in Chicago.Among
the works Powell most
frequently performed in
her recitals was the
â??Preludioâ?
movement from Bachâ??s E
major Partita, and I
decided to refer to that
music in my own first
movement, also titled
â??Preludio.â? The
beginning subtly reflects
Bachâ??s opening
three-note motive,
wherein the music dips
down a semitone and then
comes back up. This
melodic material returns
throughout the movement
in various forms. I also
refer to Bachâ??s
sixteenth-note dominated
texture, and the gesture
in the third measure,
which outlines a perfect
fifth and then fills it
in with notes that
alternate between a scale
and a pedal tone. The
corresponding passage in
my piece occurs in the
same place, measure 3.
Apart from these
references to Bach, my
sonata is much more
modern sounding,
especially in its
chromatic character.I was
still thinking of
Bachâ??s solo violin
writing while composing
the second movement,
particularly the
polyphonic nature of the
slow movements, where the
melodic interest moves
around between the
voices. Emotionally, I
wanted my movement to
reflect the acute sadness
I had been experiencing
over the political and
social situation in the
United States as I wrote
the piece. I realized
that this is a
historically noteworthy
time in U.S. history,
marked not only by
political unrest, but
also by a challenge to
the very values that I
consider essential to
what makes a person
fundamentally human. I
wanted to create a record
of that pain in my
music.The final movement
is marked
â??White-hot.â? It is
imbued with a relentless,
passionate intensity.
Wanting again to reflect
aspects of our own time,
I included glissandi that
refer to rock music,
specifically the
â??fall-offsâ? I
frequently hear played by
electric guitarists. I
borrowed from another
(completely different)
musical tradition as
well, one that is
near-and-dear to my
heart: Klezmer. Klezmer
(Eastern European Jewish
folk music) is
characterized in part by
scales colored by
augmented seconds, and is
often performed by solo
instrumentalists who
improvise embellishments
like quick grace notes.
The second, more lyrical
theme in this movement is
my nod to Klezmer
style.While this piece is
an homage to Maud Powell,
I also think of it as my
own musical
autobiography, as it
combines some of my
favorite aspects of
music, and is played on
my own instrument.
Orchestra orchestra - Grade 3 SKU: KJ.SO379F Composed by William Holfeldt...(+)
Orchestra orchestra -
Grade 3
SKU:
KJ.SO379F
Composed by
William Holfeldt. Score
only. Neil A. Kjos Music
Company #SO379F.
Published by Neil A. Kjos
Music Company
(KJ.SO379F).
UPC:
8402704725.
William
Hofeldt's inspiration
comes from the Oscar
Wilde poem with the same
name. It's sheer depth
and beauty is clearly
Hofeldt at his best, once
again. G Major. 3/4 time.
Shifting work during
octave divisi moments.
Choral TBB choir, piano SKU: CF.CM9777 Composed by Matthew Emery. Duratio...(+)
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 “hereâ€. We
are left with a certain
placeless-ness in the
poem. “Hereâ€
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.