Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Composed by Bernd Franke.
Full Scores. Edition
Peters. Score. 52 pages.
Duration 00:20:00.
Edition Peters
#98-EP14445. Published by
Edition Peters
(PE.EP14445).
ISBN
9790014135041. 297 x 420
mm inches.
German.
ARKA
stammt aus dem
Sanskrit und bedeutet so
viel wie Strahl, Blitz,
Sonne, Licht, aber auch
Lied, Feuer und Hymnus,
und entwickelt in meiner
Vorstellung sehr viele
unterschiedliche
Assoziationsfelder. In
ARKA stecken
auch die Worter arc
(beten) und ka (Wasser),
und es kann auch
ubersetzt werden mit:
,,Das Wasser stromt aus
dem heraus, der mehr
weiss.
Mein neues
Werk fur Pipa, Oboe,
Pauke, Schlagzeug und
Orchester entstand im
Auftrag der
Kammerakademie Neuss und
auf Anregung des Oboisten
Christian Wetzel. Es
entstanden drei Rituale
mit zum Teil szenischen
Elementen fur die
Solisten und das
Orchester.
Inspirationsquelle in
der Vorbeschaftigung
waren zwei Quellen und
Bucher. Das Daodejing von
Laozi in der
hervorragenden
Neuubersetzung von Viktor
Kalinke, eine der
wichtigsten Quellen
chinesischen Denkens und
der Philosophie dieser
grossen Kulturtradition
und die chinesische
Tradition der
5-Elementelehre und der
Wandlungsphasen. Als
zweites Buch hat mich
,,Die Glut von Roberto
Calasso inspiriert, ein
Buch uber die indischen
Veden in Verbindung mit
den Ursprungen des
Buddhismus und den damit
verbunden Ritualen.
In den letzten 20
Jahren habe ich mich
intensiv mit
ostasiatischer Musik,
Kunst und Philosophie
beschaftigt und habe das
auch durch langere
Studienreisen und
kompositorische Projekte
vertiefen konnen. U.a.
wurde 2012 mein Chorwerk
PRAN in Kolkata in Indien
uraufgefuhrt
(Goethe-Institut),
ebenfalls 2012 ,,in
between VI fur Sho und
Sheng in Tokyo und 2013
,,Mirror and Circle fur
Pipa, Cello und
chinesisches Orchester in
Taipeh/Taiwan
(Auftragswerk der
taiwanesischen
Regierung). Mit der
chinesischen
Pipa-Virtuosin Ya Dong
arbeite ich seit 2000
zusammen und habe fur sie
mehrfach komponiert
(Urauffuhrungen u.a. in
Hannover/EXPO 2000,
Rottweil 2001, Taipeh
2013, Magdeburg 2016).
Auch mit Christian Wetzel
arbeite ich seit uber 20
Jahren zusammen und habe
ebenfalls haufig fur ihn
komponiert (UA u.a. in
Bonn 1999, Hannover/EXPO
2000, Rottweil 2001,
Darmstadt 2004 und
etliche weitere
Projekte).
Jedes
dieser drei Rituale hat
eine Lange von ca. 6-7
Minuten und stellt
unterschiedliche
Qualitaten und
Besonderheiten der beiden
Soloinstrumente heraus,
immer in Verbindung mit
der Interaktion zwischen
Soli und Orchester. Die
Besetzung war fur mich
ausserst reizvoll, da
beide Instrumente in
dieser Kombination noch
nie so erklungen sind.
Die Pipa ist ein ungemein
modernes und
ungewohnliches
Instrument, reich an
Farben und vor allem an
perkussiven Effekten. Das
Tonmaterial wurde zum
grossten Teil aus den
Namen der beiden Solisten
gewonnen und ergibt
interessanter zwei
gespiegelte
Viertonmotive. In der
asiatischen Kultur
spielen der Spiegel und
der Kreis eine wichtige
Rolle, und so werden die
Tone, Rhythmen und Formen
eingewoben in diese drei
Rituale, welche am Ende
des dritten Satzes wieder
kreisformig an den Anfang
des ersten Rituals
anknupfen. Ein von den
Streichern und der Pauke
erzeugtes Gerausch,
verbunden mit dem
Rhythmus der grossen
Trommel, welcher einen
Herzschlag symbolisieren
soll. Die drei Untertitel
der Rituale Himmel, Erde
und (atmospharischer)
Raum spielen im vedischen
und chinesischen Denken
eine grosse Rolle und war
fur mich beim Komponieren
ebenfalls eine sehr
starke
Inspirationsquelle. In
vielen meiner
Kompositionen gibt es
Raumeffekte, Annaherungen
an das Publikum, das
Verschieben von
Perspektiven, die
Dekonstruktion und das
Hinterfragen der ublichen
Konzertsituation, so u.a
in meinem Beuys-Zyklus
oder in den Zyklen ,,CUT
und ,,in between.
In ARKA geht
es mir besonders um die
Interaktion zwischen
westlichem und ostlichem
Denken, um das
gegenseitige Durchdringen
dieser auf den ersten
Blick so
unterschiedlichen Denk-
und Lebensweisen, um eine
Verschmelzung scheinbarer
Gegensatze - um
Annaherung!
Bernd
Franke. Leipzig,
11.10.2019
W01476|C|Y
0.0000 Sheet Music
_x000D_ 9780193556799 Y
23.50 X556799 357665
9780193556799 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556799 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0 Low
voice & piano Low voice
book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556799
Young: A babe is
born
Rutter:
Angels' Carol
McDowall: Before the
paling of the stars
Rutter:
Candlelight Carol
Rutter: I sing
of a maiden
Chilcott: Mid-winter
Todd: My Lord
has Come
Bullard: Scots Nativity
Quartel: Snow
Angel
Todd:
Softly
Chilcott: Sweet was the
song
Chilcott:
The Shepherd's Carol
Quartel: This
endris night
McGlade: What child is
this?
for
low voice and piano
This beautiful
collection of 14 songs
for low voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for high voice and
piano.
14
songs for solo
voice
Well-loved
composers, including John
Rutter and Bob
Chilcott
Wide
selection of Christmas
texts
Accessible
accompaniments
Includes backing tracks
downloadable from a
Companion
Website
Available in volumes for
high and low
voice
MISC|AU|Y
0.0000 Paperback _x000D_
EP73308R Y 0.00 73308R
P73308R 1 ORCHA 8000 0.00
Hover A (LARGE) BEAMISH
EP73308R GP:ORCHESTRAL
HOVER ONLY RENTAL SALLY
WORKS NONE ORCHA P 303000
EP73308R 0.0000 Sheet
Music _x000D_ EP14437A Y
22.95 14437A P14437A
FRANKE, BERND C
9790014137199 52A1 8000
0.00 AGNI A 9790014137199
AGNI BASS BERND CLARINET
EP14437A FRANKE
PHOTOPRINTS W01476
English / German 00:12:0
Instrumental Score 232 x
303 mm Bass clarinet 20
DETNT NEW PR43 23/04/2021
P 303006
AGNI is the
Hindu god of fire; the
elemental and
transformative force
inherent in
everything:
Every
flame, every fire, every
light, every warmth is
AGNI.
AGNI is
omnipresent, establishing
everything and ending
everything.
AGNI is
often depicted with seven
tongues which represent
different aspects of his
being.
These
include: creating,
sustaining, cleansing,
purifying, priestly,
martial, devastating,
destructive, and
consuming.
Derived
from Franke's concerto of
the same name, this solo
work for bass clarinet
compositionally traces
the transformative
processes initiated by
the divine fire. The solo
takes seven pieces from
the concerto, presenting
vivid character pieces
exploring the creative
possibilities and wide
tonal range offered by
the bass
clarinet.
This
version of AGNI
for bass clarinet solo
was premiered on 4
December 2020 in Leipzig
by Volker Hemken, the
principal bass
clarinetist of the
Gewandhausorchester
Leipzig. EP14437a
convinces with its
excellent and clear
notation, making the
piece a new standard for
bass clarinet.
W01476|C|Y 0.0000 Sheet
Music _x000D_ EP68686 Y
165.00 68686 P68686 LEWIS
C 9790300761299 97 8000
0.00 Ikons A
9790300761299
CONTEMPORARY ENSEMBLE
EP68686 GEORGE IKONS
LEWIS PHOTOPRINTS SMALL
W06652 English 00:14:0
Conductor Score & Parts
303 x 232 mm Fl (A-fl in
F).Cl.Bsn
(Cbsn).Tbn.Perc.Vln.Vlc.C
b 132 NEW PR43 USTNT
21/04/2021 P 303006
Ikons,
commissioned by the
Vancouver Cultural
Olympiad 2010, exists in
two forms. This 14-minute
acoustic version,
premiered by the Turning
Point Ensemble, calls for
an octet of live
musicians to execute
complex rhythms and
quarter-tone
harmonies.
The
interactive, electronic
version, created with
visual artist Eric
Metcalfe and designed to
be presented separately,
incorporates samples from
this acoustic version
into a sculptural
environment of seven
pyramidal structures that
respond sonically to the
viewer.
W06652|C|Y
0.0000 Sheet Music
_x000D_ EP73531 Y 31.95
73531 P73531 PANUFNIK,
ROXANNA C 9790577020976
61 8000 0.00 Sonnets
without Words A
9790577020976 EP73531
HORN PANUFNIK PHOTOPRINTS
PIANO ROXANNA SHAKESPEARE
SONNETS W03578 WILLIAM
WITHOUT WORDS English
Score & Instrumental
Parts 232 x 303 mm Horn
and piano 28 NEW PR43
UKTNT 21/04/2021 P 303006
Roxanna Panufnik's
Sonnets without
Words is a
contemporary piece for
Horn in F and piano.
Written for horn player
Ben Goldscheider,
Panufnik has reimagined
the lyrical vocal lines
from three of her
previous settings of
Shakespeare's sonnets
(Mine eye, Music to
hear and Sweet
Love Remember'd for
voice and piano) into a
purely instrumental
work.
Score and
horn
part.
Contempo
rary work for Horn in F
and
piano
Settings of
Sheakespeare's Sonnets 8,
24 & 29 in instrumental
form
W03578|C|Y
W06737|LY|N 0.0000 Sheet
Music _x000D_ EP73571 Y
15.95 73571 P73571
MCNEFF, STEPHEN C
9790577021317 20 8000
0.00 Trig for Solo Cello
A 9790577021317 (SOLO)
CELLO EP73571 MCNEFF
PHOTOPRINTS SOLO STEPHEN
TRIG W03150 English
00:07:0 Instrumental
Score 232 x 303 mm Solo
Violoncello 8 NEW PR43
UKTNT 21/04/2021 P 303006
Stephen McNeff's
Trig is a short
7-minute contemporary
work for solo cello,
written to celebrate the
bicentennial of the Royal
Academy of Music in 2022
and in memorium cellist
Mike Edwards
1948-2010.
Trig
was premiered by
Henry Hargreaves on 19
March 2021, livestreamed
from the Royal Academy of
Music.
Contemp
orary piece for solo
cello
Written for
the Royal Academy of
Music's
bicentennial
W03150|C|Y 0.0000 Sheet
Music _x000D_ EP14528 Y
34.95 14528 P14528
SAUNDERS, REBECCA C
9790014136796 3 8000 0.00
to an utterance - study A
9790014136796 (SOLO) AN
EP14528 PHOTOPRINTS PIANO
REBECCA SAUNDERS STUDY TO
UTTERANCE W04191 English
Instrumental Score 420 x
297 mm Piano Solo 16
DETNT NEW PR43 21/04/2021
P 303006
to an
utterance - study
was commissioned by
Klangforum Wien for the
premiere commercial audio
recording on a portrait
CD in 2020 and first
performed by Joonas
Ahonen at the Berlin
Philharmonie on 4th
September 2020 at the
Musikfest Berlin.
W04191|C|Y 0.0000 Sheet
Music _x000D_ EP71880 Y
75.00 71880 P71880
PANUFNIK, ROXANNA C
9790577008332 82 8000
0.00 Spirit Moves for
Brass Quintet A
9790577008332 BRASS
ENSEMBLE EP71880 MOVES
PANUFNIK PHOTOPRINTS
QUINTET ROXANNA SPIRIT
W03578 English 00:15:0
Score & Instrumental
Parts 232 x 303 mm
Trumpet 1 in B flat
(doubling Piccolo
Trumpet), Trumpet 2 in B
flat (doubling Flugel
Horn), Horn in F,
Trombone, Tuba 84 NEW
PR43 UKTNT 21/04/2021 P
303006
Roxanna
Panufnik's Spirit
Moves, for brass
quintet, was commissioned
by the Fine Arts Brass
Ensemble. This 15-minute
piece is scored for two
trumpets in Bb (one
doubling piccolo trumpet
and the other doubling
flugel horn), horn in F,
trombone and tuba. This
brass quintet is so
called because the outer
movements are highly
spirited and the
central one is
spiritual.
This product consists of
score and parts.
W03578|C|Y 0.0000 Sheet
Music _x000D_ EP73585 Y
4.00 73585 P73585 369282
WILLIAMS, RODERICK C
9790577021591 1 151 8000
0.00 Eriskay Love Lilt A
9790577021591 (SECULAR)
CHORAL EP73585 ERISKAY
HALSTAN-USA LILT LOVE
RODERICK TRADITIONAL
W05152 WILLIAMS WORKS
English 00:03:0 190 x 272
mm SATB (divisi) and
piano 16 NEW PR30 UKTNT
20/05/2021 P 377788
A
gently flowing 3-minute
arrangement by Roderick
Williams for SATB (with
divisi) with piano
accompaniment that
captures the beauty of
this famous traditional
Hebridean love song. The
song text uses both old
dialect and English, each
verse ending with the
words, 'Sad am I without
thee'.
Commiss
ioned by The Sixteen
choir and recorded on
their 2021 album
'Goodnight
Beloved'
Roderick
Williams is a
composer/arranger and
also a world-renowned
baritone
The
arrangement is described
by Williams as 'having a
little nod to Ravel and
Grieg'
W05152|C|Y W04819|LY|N
0.0000 Sheet Music
_x000D_ 9780193556782 Y
23.50 X556782 357665
9780193556782 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556782 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0
High voice & piano High
voice book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556782
Young: A babe is
born
Rutter:
Angels' Carol
McDowall: Before the
paling of the stars
Rutter:
Candlelight Carol
Rutter: I sing
of a maiden
Chilcott: Mid-winter
Todd: My Lord
has Come
Bullard: Scots Nativity
Quartel: Snow
Angel
Todd:
Softly
Chilcott: Sweet was the
song
Chilcott:
The Shepherd's Carol
Quartel: This
endris night
McGlade: What child is
this?
for
high voice and piano
This beautiful
collection of 14 songs
for high voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for low voice and
piano.
14
songs for solo high
voice
Well-loved
composers, including John
Rutter and Bob
Chilcott
Wide
selection of sacred and
secular Christmas
texts
Accessible
accompaniments
Includes backing tracks
downloadable from a
Companion
Website
Available in volumes for
high and low solo
voice
MISC|AU|Y
0.0000 Paperback _x000D_
9780193559066 Y 4.25
X559066 357665
9780193559066 YOUNG C 1
444 8030 0.00 O splendour
of God's glory bright
PAPER 9780193559066
BRIGHT CHORAL GLORY GOD'S
MIXED OF OXFORD SACRED
SPLENDOUR TOBY VOICES
W06576 YOUNG C 00:03:30
SATB & organ Vocal score
254x178 SATB 20 NONE P
355580 9780193559066
for SATB and organ
This energetic
setting of words by St
Ambrose of Milan is a
real showstopper. With
pop-influences and a
sparkling organ part,
Young effortlessly fuses
modern and traditional
sound worlds, while
changes in key and metre
build up to an
invigorating finish.
Perfect for accomplished
choirs looking for
something different.
W06576|C|Y 0.0000
Paperback _x000D_
9780193554399 Y 2.60
X554399 357665
9780193554399 LASSUS,
ORLANDO DE C 1 445 8030
0.00 Oculus non vidit
PAPER 9780193554399
CHORAL DE KEANE LASSUS
MARK NON OCULUS ORLANDO
OXFORD SACRED UPPER VIDIT
VOICES W02750 B 00:01:30
SA unaccompanied Vocal
score 254x178 Upper
Voices - 3 parts or more
4 NONE 10/06/2021 P
355580 9780193554399
for SA unaccompanied
This simple, charming
two-part motet features
long melismatic phrases
that reflect the text (1
Corinthians 2: 9), such
as the rising melodic
line over three bars on
the word 'ascended'
(ascendit).
W02750|C|Y
W06960|E|N 0.0000
Paperback _x000D_
9780193954298 Y 3.35
X954298 357665
9780193954298 TALLIS,
THOMAS C 1 448 8030 0.00
Honor, virtus et potestas
PAPER 9780193954298
CANTICLES DUNKLEY ET
HONOR OXFORD POTESTAS
SALLY SERVICES TALLIS
THOMAS VIRTUS W04705 C
00:06:0 SAATB
unaccompanied Vocal score
MSER00020 SATB 12 NONE
28/05/2021 P 355580
9780193954298
for
SAATB unaccompanied.
This glorious musical
depiction of the honour,
strength, power and
authority of the Holy
Trinity by Thomas Tallis
is the third issue in the
CMS's series of great
English Responds from the
16th century, edited by
Sally Dunkley. Scored for
SAATB, it can be
performed either as a
motet or as a full
Responsory with plainsong
alternating with
polyphony.
W04705|C|Y
W01184|E|N 0.0000
Paperback _x000D_ EP73527
Y 6.95 73527 P73527
BEAMISH, SALLY C
9790577020891 50 8000
0.00 The Parting Glass A
9790577020891 (SOLO)
BEAMISH CLARINET EP73527
GLASS PARTING PHOTOPRINTS
SALLY W00306 English
Score 232 x 303 mm
Clarinet 4 NEW PR43 UKTNT
12/12/2020 P 303006
Based on a traditional
Scottish/Irish 'farewell'
song, this short piece is
one of six works written
to express my love of
Scotland. After living
there for nearly half my
life, and raising a
family, I moved back to
England in 2018, and
remarried in 2019.
Of course, there were
many different emotions
attached to the move
south: especially the joy
and excitement of new
beginnings, and
reconnection with friends
from my youth.
But this piece
expresses the wrench I
experienced after a last
family meal in Glasgow,
and the realisation of
all I was about to leave
behind.
I have
taken the melody of the
original song, and
expanded it, exploring
the detail of its
patterns, so that it
becomes a timeless
meditation.
The
six pieces in the
'farewell' series are for
6 violas, string quintet,
string quartet, trio,
violin and clarinet duo,
and solo clarinet.
The Parting Glass
was composed in 2020
during the coronavirus
lockdown, which
intensified the feeling
of separation from my
Scottish family, as well
as from other musicians.
It was
commissioned by Vittorio
Ceccanti for the
ContempoArtEnsemble.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73516 Y
6.95 73516 P73516
BEAMISH, SALLY C
9790577020747 20 8000
0.00 Maple A
9790577020747 (SOLO)
BEAMISH CELLO EP73516
MAPLE PHOTOPRINTS SALLY
W00306 English 00:06:0
Score 232 x 303 mm
Contemporary cello solo 8
NEW PR43 UKTNT 12/12/2020
P 303006 Seed; Spinning
Seed; Roots, shoots;
Leaves ; Flowers; Tree ;
Autumn ; Cello
Maple arose
from a commission to
write a work for solo
cello, to be performed
alongside readings from
artist John Newling's
collection of letters
entitled 'Dear Nature'; a
poetic manifestation of
our relationship with the
natural world.
The
piece is in eight short
sections, to be
interspersed with
readings of groups of the
poems. It may also be
performed as a single
movement. It begins with
a seed - the seed of a
maple tree, as it hangs
on the mature tree, ready
to drop. The seeds are
like propellers,
sometimes travelling more
than a mile before
landing on the ground.
Maple follows
the growth of the tree to
maturity - which in
reality would take at
least a hundred years.
'Roots, shoots' grows
downwards and upwards
from a pedal note, and
the dance-like 'Flowers'
is followed by the
stately 'Tree', and then
the warm, cascading
'Autumn'. Maple is very
often the wood of choice
for the back of a
stringed instrument, and
the last section uses
open strings to explore
the full resonance of the
cello.
The piece
starts with a 'seed' of
only five notes, which
grows into different
configurations. It is
intended to be played in
an improvisatory
style.
Maple was
co-commissioned by
Brighton Festival, Ars et
Terra Festival with SACEM
and Ditchling Arts and
Crafts Museum, to be
performed by Margarita
Balanas as part of the
Brighton Festival's 'Dear
Nature' project.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73508 Y
39.95 73508 P73508
DILLON, JAMES C
9790577020648 3 8000 0.00
echo the angelus A
9790577020648 (SOLO)
ANGELUS DILLON ECHO
EP73508 JAMES PHOTOPRINTS
PIANO W01097 English
00:25:0 Score 232 x 303
mm Piano Solo 44 NEW PR43
UKTNT 12/01/2021 P 303006
First performed by
Noriko Kawai for
Huddersfield Contemporary
Music Festival, in a
broadcast from the Radio
Theatre, BBC Broadcasting
House, November
2020.
Full of
beautifully crafted,
delicate
tintinnabulations -
Richard Morrison, The
Times
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
By Various. Edited by Trubel, Gerhard. Hymn settings, Mass Sections, Psalms, Ger...(+)
By Various. Edited by
Trubel, Gerhard. Hymn
settings, Mass Sections,
Psalms, German; Choral
Collections, Mixed Choir,
Music for Casuals;
Occasions: Eucharist,
Communion, Peace and
Justice, Prayer, Wedding,
Confirmation, Praise and
thanks, Morning, Midday,
Evening, Psalms, Baptism,
Mourning, Death, Our
Father; Use during church
year: Advent
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.
SKU: CA.1290100 Composed by Various. Edited by Gunther Kretzschmar. This ...(+)
SKU: CA.1290100
Composed by Various.
Edited by Gunther
Kretzschmar. This
edition: Paperbound.
Choral collections for
children's choir; Hymns
by Martin Luther:
Ausgaben mit mehreren
Luther-Liedern. Musik fur
Gottesdienst, Spiel und
Fest. Psalms, German,
Songs for children,
Secular choral music,
Special days, Ascension,
New year, Easter and
Eastertide, Whitsun,
Reformation day, Praise
and thanks, Morning,
midday, evening.
Collection. Composed
1992-96. 160 pages. Carus
Verlag #CV 12.901/00.
Published by Carus Verlag
(CA.1290100).
By Johann Sebastian / Herman Bach. Edited by Klaus Hofmann. Hymn settings, Mass ...(+)
By Johann Sebastian /
Herman Bach. Edited by
Klaus Hofmann. Hymn
settings, Mass Sections;
Choral Collections, Mixed
Choir; Occasions: Peace
and Justice, Morning,
Midday, Evening; Use
during church year:
Advent, Special Days,
Epiphany, Lent and
Passiontide, Holy Week,
Easter and Eastertide,
Ascension, Christmas.
Choral collection. 80
pages. Published by Carus
Verlag (German import).
Isthmus Chorale SATB [Conducteur] University Of York Music Press
SATB Choir SKU: BT.MUSM570368679 For choir and fixed media. Compos...(+)
SATB Choir
SKU:
BT.MUSM570368679
For choir and fixed
media. Composed by
Evis Sammoutis. Score
Only. Composed 2019. 14
pages. University of York
Music Press
#MUSM570368679. Published
by University of York
Music Press
(BT.MUSM570368679).
Isthmus denotes
a narrow strip of land
with sea on either side,
forming a link between
two larger ars of land.
The title is a metaphor
for an effort to bond
artistically my
experiences of living in
Cyprus, my birthplace,
and in the USA, my
recently adopted
homeland. Having lived in
a small, partitioned
island for my formative
years and in England for
eleven years, water has
always had a double
meaning: it has at once
served as a gateway to
other cultures but also
as a border, a violent
and absolute interruption
of a continuum. While in
the USA, or indeed in a
now connected Europe, it
is possible to travel on
land for days without
having to encounter a
border, in the countries
where I lived for most of
my life, that was not
possible. As an artist,
this notion of
establishing boundaries
and consciously trying to
break them is very close
to me, as my music deals
both with modernity but
also with tradition and,
similarly, with metaphor
and reality. As a
Cypriot, the sea, the
world of antiquity, the
mysteries of the oracles,
the notion of borders and
the pastoral are all very
central to my way of
thinking. In Cyprus,
different layers of
history are frequently
superimposed on a single
building that might still
preserve its Roman,
Byzantine, Venetian and
Ottoman features in its
layers of stone and
architecture. Similarly,
ancient ruins or the
barbed wire of modern
conflict often interrupt
placid fields. An
isthmus, therefore, can
be seen to symbolize my
artistic struggle to join
strikingly different
experiences and notions
in a cohesive way.
Similar to an isthmus, in
this short piece, I
connect these experiences
with the purpose of
creating a distinct and
unique sonic context,
connecting technology and
tradition, the pastoral
with the urban, the
musical with the
extra-musical and the
abstract with the
concrete. For example,
the choir does not always
sing in the traditional
sense, but the singers
imitate various natural
sounds, such as water,
air, crickets or birds,
to create a vivid visual
impression for the work.
Scandinavian herding
calls blend with field
recordings from the seas
of Cyprus and the lakes
of Upstate New York,
communicated within
clearly defined, singular
acoustic sources and
spaces through wireless
speakers. The text used
is both onomatopoeic,
articulating an imaginary
language, but also
literal, with a setting
of the poem, “To make a
prairie” by the iconic
American poet Emily
Dickinson and a tiny
fragment from
Callimachus’ “Hymn to
Demeter.” Technology is
used sparsely and very
intentionally to
articulate the expressive
qualities of pastoral
imagery, creating one
unified synthetic timbre
with the choristers’
sounds. This piece is
dedicated to the
wonderful singers of the
Georgia Institute of
Technology Chamber Choir
with special thanks to
Professors Hsu and
Ulrich, without whose
support this composition
would not have been
possible. Practical
notes: A choir of no
less than 24 singers is
sought with 4 additional
soloists (2 Sopranos and
2 Altos). Each singer
must have their own
wireless speaker, secured
either in the music
folder or as a strap
inside their shirts. All
sounds must match in
volume the sound from the
speakers, creating one
unified timbre. The
speakers should not be
noticeable to the public.
The four soloists are
placed offstage at the
beginning of the work.
From 1:35’ onwards they
enter the hall and take
their positions, ideally
at the four corners of
the hall. If the hall is
too large, the singers
can find alternate
positions, but these
should always be
antiphonal. The four
soloists sing
predominantly in the
“kulning” style and
the antiphonal aspect is
very important to the
work. There are two sound
files for each section
(SATB) that are triggered
by each singer’s mobile
device. The first occurs
at the start of the
piece, and the second,
about a minute before the
end. The sound files are
able to be purchased
separately, on CD, or are
available directly from
UYMP.
By Various. Edited by Schulze, Willi. Hymn settings, Mass Sections; Choral Colle...(+)
By Various. Edited by
Schulze, Willi. Hymn
settings, Mass Sections;
Choral Collections, Mixed
Choir; Occasions: Praise
and thanks, Morning,
Midday, Evening,
Mourning, Death; Use
during church year:
Advent, Special Days, End
of the church year, Lent
and Passiontide,
Ascension, Easter and
Eastertide, Ascension,
Christmas. Choral
collection. 84 pages.
Published by Carus Verlag
(German import).
In 1828 Berlioz
wrote the Huit scènes
de Faust. The work was
soon withdrawn but almost
twenty years later each
of the eight scenes found
a place in the Lgende
dramatique La damnation
de Faust dedicated to
Franz Liszt. The first
part of the Damnation
exposes the figure of
Faust and has an
introductory nature. From
the second part onwards,
the course of action is
largely based on
Goethe’s
drama.
Contrasting
characters and dramatic
effect are of central
importance in
understanding
Berlioz’s musical
thought and his
compositional process.
Magic and fairy tale,
incantations and ghosts,
have been the
ever-recurring themes of
opera since the Baroque.
It is precisely this
fantasy in Berlioz's
Faust, the “Opra de
Concert en Quatre
actsâ€, which comes
very close to the spirit
of Goethe's
presentation.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Chamber Music Flute, Piano, Piccolo SKU: PR.114418820 For Piccolo, Flu...(+)
Chamber Music Flute,
Piano, Piccolo
SKU:
PR.114418820
For
Piccolo, Flute, and
Chamber Orchestra (or
Piano), TWV 52:e1.
Composed by Georg Philipp
Telemann. Arranged by
Valerie Shields Zart
Dombourian-Eby. Set of
Score and Parts. With
Standard notation.
32+12+12 pages. Duration
14 minutes. Theodore
Presser Company
#114-41882. Published by
Theodore Presser Company
(PR.114418820).
ISBN
9781491113998. UPC:
680160667697.
Compo
sed by Telemann as a
double concerto for
recorder and transverse
flute, Zart
Dombourian-Eby’s
new edition is prepared
for piccolo, flute, and
piano — remaining
compatible with available
orchestral editions, and
respectfully faithful to
Telemann’s
detailed nuances. Cast in
the slow-fast, slow-fast
four-movement mold
typical of Baroque
concert works, the
CONCERTO IN E MINOR is at
once among the most
beautiful and
exhilarating works of
Telemann’s
formidable
output.__________________
____________________Text
from the scanned back
cover:ZART DOMBOURIAN-EBY
is the Principal
Piccoloist of the
SeattleSymphony and is
regularly featured as
both a soloist and
clinician in Seattle and
across the world. Her
performances consistently
receive highest praise
from both critics and
audiences. A native of
New Orleans, she received
B.A. and M.M. degrees
from Louisiana State
University. After a year
of study with Albert
Tipton she attended
Northwestern University
earning a Doctor of Music
degree under the tutelage
of Walfrid Kujala. She
has been a member of the
New Orleans Pops, Baton
Rouge Symphony, Colorado
Philharmonic, and the
Civic Orchestra of
Chicago. She has
performed with the
Chicago Symphony and
served on the faculties
of the University of
Washington and Pacific
Lutheran University. She
was the founding editor
of Flute Talk and ison
the Editorial Board for
The Flutist Quarterly.
Zart is the immediate
past president of the
National Flute
Association, and been a
featured soloist and
presenter at numerous NFA
conventions. Zart has
commissioned numerous
works, including two for
piccolo and piano by
Martin Amlin, sonatas by
Gary Schocker and Levente
Gyongyosi, and a chamber
work by Ken Benshoof. She
can be heard in over 100
recordings by the Seattle
Symphony, and her solo
CD, in shadow, light, is
available on Crystal
Records. Her
award-winning edition of
the three Vivaldi piccolo
concertos is published by
Theodore Presser.A native
of Seattle, VALERIE
SHIELDS received her B.M.
summa cum laude in organ
and violin from St. Olaf
College. While completing
her M.M. from
Northwestern University,
she became increasingly
interested and skilled in
the art of improvisation.
She served as Director of
Music at St.
Luke’s Lutheran
Church in Park Ridge,
Illinois, where she
developed a music program
involving over 150
participants in choirs
and chamber music
groups.Upon her return to
Seattle, she served for
12 years as director of
adivision of the
Northwest Girlchoir. She
became organist and
developed a vibrant Youth
Choir at Phinney Ridge
Lutheran Church, where
she served for over 30
years, as well as
enjoying a 20-year tenure
as Music Director and
Composer-in-Residence of
Temple De Hirsch Sinai.
Valerie’s work
with children’s
choirs,churches, and
synagogues has inspired
over 100 published
compositions. When I
was invited to perform a
Vivaldi piccolo concerto
in Italy a few years ago,
my host, Luisa Sello,
wrote that Carol Wincenc
was going to be on the
same concert, and was
there any piece that we
could play together? I
looked and asked around,
and my colleague Joanna
Bassett recommended the
Telemann Concerto in E
Minor for Traverso and
Recorder. I didn’t
know the piece, but as I
listened to a recording
of it, I immediately
loved it and could easily
envision how beautifully
it could work, with a few
“adjustments,â€
for flute and piccolo.
I got to work, and the
current publication is
the result. I have
performed it many times,
and enjoy it even more
every time. It fits a
unique place in our
repertoire, and works
equally well with piano
as with the string
orchestra
setting.According to
Steven D. Zohn,
pre-eminent Telemann
scholar, and author of
Music for a Mixed Taste:
Style, Genre, and Meaning
in Telemann’s
Instrumental Works, much
is unknown about the
concerto itself; it
likely dates from the
1720s, soon after
Telemann moved to
Hamburg. Only an
eighteenth-century
copyist’s set of
parts is extant, that of
Johann Samuel Endler, who
was engaged at the
Darmstadt court as a
singer and violinist,
later becoming
Vice-Kapellmeister and
Kapellmeister, and who
had a large collection of
Telemann’s
works.As in my Vivaldi
concertos edition
(Presser 414-41190), I
have added virtually all
of the articulations and
dynamics that appear
here, and have inserted
quite a bit of
ornamentation. Unlike the
Vivaldi edition, I have
not included any
indication of the
original Telemann in
those passages, nor have
I included any
pedagogical markings,
such as
fingerings.Finally, I
would like to
acknowledge, with
gratitude, Joanna
Bassett, Daniel Dorff,
Benton Gordon, Evan
Pengra-Sult, Sandra
Saathoff, Valerie
Shields, Carol Wincenc,
and Steven Zohn, for the
various roles they played
in the making of this
publication.— Zart
Dombourian-EbyJune
2018.
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir
SKU:
CF.CM9700
Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700).
ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk.
In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ.
Spark of Light Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA Choir and Piano SKU: CF.CM9747 Composed by Andrew Steffen. Dur...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9747
Composed by
Andrew Steffen. Duration
3 minutes, 4 seconds.
Carl Fischer Music
#CM9747. Published by
Carl Fischer Music
(CF.CM9747).
ISBN
9781491162354. UPC:
680160921102. Key: E
lydian. English. The
Vastness of the Universe
Jonas Hallgrimsson
(1807-1845).
About
Jónas
HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work justice.
Choral TBB choir, piano SKU: CF.CM9751 Composed by Andrew Steffen. Durati...(+)
Choral TBB choir, piano
SKU: CF.CM9751
Composed by Andrew
Steffen. Duration 3
minutes, 4 seconds. Carl
Fischer Music #CM9751.
Published by Carl Fischer
Music (CF.CM9751).
ISBN 9781491162392.
UPC: 680160921140. Key: E
lydian. English. The
Vastness of the Universe
Jonas Hallgrimsson
(1807-1845).
About
Jónas
HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for
tenor-bass
choirs. Directorâ€
s NoteTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for
tenor-bass
choirs. Directorâ€
s NoteTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for
tenor-bass
choirs. Directorâ€
s NoteTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for
tenor-bass
choirs. Directorâ€
s NoteTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for
tenor-bass
choirs. Directorâ€
s NoteTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for
tenor-bass
choirs. Directorâ€
s NoteTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work justice.
St. Matthew Passion Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Set de Parties séparées] Carus Verlag
Composed by Johann Sebastian Bach (1685-1750). Edited by Klaus Hofmann. This edi...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Matthauspassion.
Passions, Lent and
Passiontide. Complete
orchestral parts. BWV
244. Duration 175
minutes. Published by
Carus Verlag
(CA.3124419).
Choral TTBB choir, piano SKU: CF.CM9635 Composed by Victor Johnson. Fold....(+)
Choral TTBB choir, piano
SKU: CF.CM9635
Composed by Victor
Johnson. Fold.
Performance Score. 12
pages. Duration 3
minutes, 19 seconds. Carl
Fischer Music #CM9635.
Published by Carl Fischer
Music (CF.CM9635).
ISBN 9781491157077.
UPC: 680160915637. 6.875
x 10.5 inches. Key: E
major. English, English.
Abram Joseph Ryan
(1838-1886).
Victor
Johnson captures the
mystery and nuance of the
bittersweet poem, Wake Me
a Song, by American poet,
Abram Joseph Ryan.
Nuance, text, and
Johnson's rich harmonies
paired with intertwining
textures make this a
noteworthy addition to
any program. Also
available for SATB Voices
(CM9561). About the
Author Abram Joseph Ryan
was born Matthew Abraham
Ryan on February 5, 1838
in Hagerstown, Maryland.
As a young man, Ryan and
his family moved west St.
Louis, Missouri, where he
was educated at the
Christian Brothers
School. He studied for
the priesthood at Niagra
University in New York
State and was ordained a
priest in the Vincentian
order on November 1,
1856. He taught theology,
first at Niagra
university and then at
the diocesan seminary in
Cape Girardeau, Missouri,
until the beginning of
the war between the
states. Father Ryan
enlisted in the army on
September 1, 1862, and
served as a chaplain
throughout the conflict,
carrying the wounded to
safety and performing
last rites on the
battlefield. His first
piece of poetry was
inspired by the death of
a younger brother while
serving in the army.
After the war, he
established a weekly
literary magazine in
which most of his poetry
was published. He also
put out several volumes
of poetry, including
Father Ryan's Poems and A
Crown for Our Queen.
Father Ryan died on April
22, 1886 at a Franciscan
monastery in Louisville,
Kentucky. About the Song
Wake Me A Song is an
inspired and sensitive
setting of the
19th-century poem by
Abram Joseph Ryan. It
features sweeping melodic
lines, rich harmonies,
and a flowingly beautiful
accompaniment. To master
a performance of this
selection, singers must
perform very
expressively, paying
close attention to such
musical aspects as phrase
shaping, the rise and
fall of the melodic line,
blending and proper
intonation between
sections. One strategy
that could be used to
ensure proper phrasing is
the idea of Painting the
Phrase. The singer should
make a motion as if they
have a paintbrush in
their hand and paint the
melodic line and phrase
shape as if they are
painting with a nice,
flowing brush stroke. One
could think about
painting a rainbow or an
arch to show the rise and
fall of the line and/or
phrase. The director can
also show this gesture
while conducting to
reinforce this
concept. About the
AuthorAbram Joseph Ryan
was born Matthew Abraham
Ryan on February 5, 1838
in Hagerstown, Maryland.
As a young man, Ryan and
his family moved west St.
Louis, Missouri, where he
was educated at the
Christian Brothers
School. He studied for
the priesthood at Niagra
University in New York
State and was ordained a
priest in the Vincentian
order on November 1,
1856. He taught theology,
first at Niagra
university and then at
the diocesan seminary in
Cape Girardeau, Missouri,
until the beginning of
the war between the
states.Father Ryan
enlisted in the army on
September 1, 1862, and
served as a chaplain
throughout the conflict,
carrying the wounded to
safety and performing
last rites on the
battlefield. His first
piece of poetry was
inspired by the death of
a younger brother while
serving in the army.
After the war, he
established a weekly
literary magazine in
which most of his poetry
was published. He also
put out several volumes
of poetry, including
Father Ryan's Poems and A
Crown for Our Queen.
Father Ryan died on April
22, 1886 at a Franciscan
monastery in Louisville,
Kentucky.About the
SongWake Me A Song is an
inspired and sensitive
setting of the
19th-century poem by
Abram Joseph Ryan. It
features sweeping melodic
lines, rich harmonies,
and a flowingly beautiful
accompaniment.To master a
performance of this
selection, singers must
perform very
expressively, paying
close attention to such
musical aspects as phrase
shaping, the rise and
fall of the melodic line,
blending and proper
intonation between
sections.One strategy
that could be used to
ensure proper phrasing is
the idea of
“Painting the
Phrase.†The singer
should make a motion as
if they have a paintbrush
in their hand and
“paint†the
melodic line and phrase
shape as if they are
painting with a nice,
flowing brush stroke. One
could think about
painting a rainbow or an
arch to show the rise and
fall of the line and/or
phrase. The director can
also show this gesture
while conducting to
reinforce this
concept.
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081).
ISBN
9790200460032. 9.5 x 12
inches.
Duration:
full evening Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'.
Nordanvind Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5
SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71).
ISBN
9781491143544. UPC:
680160901043. Key: G
minor.
Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak .