Chamber Music Piano SKU: PR.140401320 Composed by Eubie Blake. Edited by ...(+)
Chamber Music Piano
SKU: PR.140401320
Composed by Eubie Blake.
Edited by Lara Downes.
Arranged by Jeremy
Siskind. Sws. Score. 8
pages. Duration 3:45.
Theodore Presser Company
#140-40132. Published by
Theodore Presser Company
(PR.140401320).
ISBN
9781491134177. UPC:
680160684274. 9 x 12
inches. Key: F
major.
LOVE WILL
FIND A WAY is one of the
great hits of the 1920s
– an era of
remarkable cultural
growth giving rise to
“The Roaring
'20s,†“The
Harlem
Renaissance,†and a
fun-loving society known
for the Charleston dance
craze and the surge of
jazz into the mainstream
of American music. A song
from Shuffle Along, the
first all-Black Broadway
musical, LOVE WILL FIND A
WAY has been arranged by
pianist Jeremy Siskind
especially for Lara
Downes’ recording
that launches the Rising
Sun series. According
to Langston Hughes, Eubie
Blake’s 1921
Shuffle Along was the
real start of the Harlem
Renaissance. In
Hughes’ words:
“Everybody was in
the audience, including
me. It gave just the
proper push, a
pre-Charleston kick, to
that Negro vogue of the
'20s that spread to
books, African sculpture,
music, and
dancing.â€As
Broadway’s first
all-Black hit musical,
with an all-star cast
including Paul Robeson
and a young Josephine
Baker, Shuffle Along ran
for an unprecedented 504
performances in New York,
then toured nationally
for three years as the
first Black musical to
play in white theaters
across the United States.
The show’s appeal
to a multi-racial
audience, and its
integration of the jazz
and Broadway communities,
not only changed the
history of the American
musical theater, but made
important strides forward
in American race
relations.Love Will Find
a Way is one of the
show’s most
popular tunes. This
intimate, pensive
arrangement by Jeremy
Siskind celebrates the
song’s centenary
by making it a love song
for our own time as much
as its own – a
reminder that no matter
how dark the path or how
gray the skies, love will
always find a way.
Noir Vignettes Contrebasse, Piano (duo) Theodore Presser Co.
Chamber Music Double Bass, Piano SKU: PR.114418110 For Double Bass and...(+)
Chamber Music Double
Bass, Piano
SKU:
PR.114418110
For
Double Bass and
Piano. Composed by
Stacy Garrop. Set of
Score and Parts. With
Standard notation. 24+16
pages. Duration 13
minutes. Theodore Presser
Company #114-41811.
Published by Theodore
Presser Company
(PR.114418110).
ISBN
9781491111994. UPC:
680160640423.
The
film noir genre of 1940s
cinema typically includes
a strong but flawed male
lead (often a detective),
a beautiful woman who
coerces the male into
committing murder or is a
killer herself (a
“femme
fataleâ€), and a
twisting plot line that
involves one or more
homicides. These movies
typically are shot in
black and white, with
emphasis on shadows and
light, alcohol and
cigarettes, trench coats
and fedoras. Most of the
story lines do not have
happy endings. Inspired
by this genre, NOIR
VIGNETTES consists of
four movements, each
depicting an aspect of
film noir: Murder at
Midnight, Loaded Gun,
Femme Fatale, and Last
Cigarette. String bass
parts are provided both
for standard orchestral
tuning and for solo
tuning. In the
mid-1940s, film critics
in France noticed a trend
emerging in movies from
the United States, which
they coined film noir
(which translates to
“black
filmâ€). These
movies were dark, moody,
and pessimistic,
reflecting the agitation
and anxiety present in
society following World
War II. Several
characteristics are
commonly found in many of
these movies, including a
strong but flawed male
lead (often a detective),
a beautiful woman who
either coerces the male
lead into committing
murder for her or is a
killer herself (a
“femme
fataleâ€), and a
twisting, turning plot
line that involves one or
more homicides.
Additionally, there are
several visual elements
that these movies share:
many are shot in black
and white, with great
emphasis on the use of
shadows and light;
alcohol and cigarettes
are heavily consumed by
men and women alike; and
men typically wear trench
coats and fedoras. Most
of the story lines do not
have happy endings.
Examples of film noir
include Orson
Welles’ The Lady
from Shanghai, Billy
Wilder’s Double
Indemnity, and John
Huston’s The
Maltese Falcon.NOIR
VIGNETTES for Double Bass
and Piano consists of
four movements, each
depicting a different
aspect of film noir:
Murder at Midnight,
Loaded Gun, Femme Fatale,
and Last Cigarette.This
piece was commissioned by
the University of
Illinois Research Board
on behalf of double
bassist Michael
Cameron.-Stacy
Garrop.
Chamber Music Soprano Voice, Piano SKU: PR.111403210 A Song Cycle for ...(+)
Chamber Music Soprano
Voice, Piano
SKU:
PR.111403210
A
Song Cycle for Soprano
and String Quartet.
Composed by Nkeiru Okoye.
24 pages. Duration 15
minutes. Theodore Presser
Company #111-40321.
Published by Theodore
Presser Company
(PR.111403210).
UPC:
680160687947.
With
an original text by the
composer, Nkeiru
Okoye’s WE MET AT
THE SYMPHONY is a
monodrama in three songs
for soprano and string
quartet or piano. The
songs tell the story of a
Black woman surprised to
find a Black man in the
sea of white faces at an
orchestra concert, their
subsequent romance, and
her struggle to trust
another Black man after
betrayal and heartbreak.
Okoye’s poignant,
insightful, and
sharp-witted poetry is
set to dramatic and
striking music that
blends sensibilities from
jazz, Broadway, and
contemporary classical
styles, with an
unforgettable solo role
for the soprano.
Chamber Music Cello, Piano SKU: PR.114418630 Composed by Stacy Garrop. Se...(+)
Chamber Music Cello,
Piano
SKU:
PR.114418630
Composed
by Stacy Garrop. Set of
Score and Parts. With
Standard notation. 24+8
pages. Duration 13
minutes. Theodore Presser
Company #114-41863.
Published by Theodore
Presser Company
(PR.114418630).
ISBN
9781491114063. UPC:
680160642724. 9 x 12
inches.
The film
noir genre of 1940s
cinema typically includes
a strong but flawed male
lead (often a detective),
a beautiful woman who
coerces the male into
committing murder or is a
killer herself (a
“femme
fataleâ€), and a
twisting plot line that
involves one or more
homicides. These movies
typically are shot in
black and white, with
emphasis on shadows and
light, alcohol and
cigarettes, trench coats
and fedoras. Most of the
story lines do not have
happy endings. Inspired
by this genre, NOIR
VIGNETTES consists of
four movements, each
depicting an aspect of
film noir: Murder at
Midnight, Loaded Gun,
Femme Fatale, and Last
Cigarette. In the
mid-1940s, film critics
in France noticed a trend
emerging in movies from
the United States, which
they coined film noir
(which translates to
“black
filmâ€). These
movies were dark, moody,
and pessimistic,
reflecting the agitation
and anxiety present in
society following World
War II. Several
characteristics are
commonly found in many of
these movies, including a
strong but flawed male
lead (often a detective),
a beautiful woman who
either coerces the male
lead into committing
murder for her or is a
killer herself (a
“femme
fataleâ€), and a
twisting, turning plot
line that involves one or
more homicides.
Additionally, there are
several visual elements
that these movies share:
many are shot in black
and white, with great
emphasis on the use of
shadows and light;
alcohol and cigarettes
are heavily consumed by
men and women alike; and
men typically wear trench
coats and fedoras. Most
of the story lines do not
have happy endings.
Examples of film noir
include Orson
Welles’ The Lady
from Shanghai, Billy
Wilder’s Double
Indemnity, and John
Huston’s The
Maltese Falcon.NOIR
VIGNETTES consists of
four movements, each
depicting a different
aspect of film noir:
Murder at Midnight,
Loaded Gun, Femme Fatale,
and Last Cigarette.This
piece was commissioned by
the University of
Illinois Research Board
on behalf of double
bassist Michael Cameron;
and it also published for
Double Bass and Piano
(114-41811). The cello
version is transcribed by
the composer.-- Stacy
Garrop.
Chamber Music harp SKU: PR.114417670 For Harp. Composed by Carter ...(+)
Chamber Music harp
SKU: PR.114417670
For Harp. Composed
by Carter Pann. Sws.
Contemporary. Solo part.
With Standard notation.
Composed 2010. 8 pages.
Duration 4:30. Theodore
Presser Company
#114-41767. Published by
Theodore Presser Company
(PR.114417670).
ISBN
9781491107973. UPC:
680160636228. 9x12
inches.
The
inscription above Carter
Pann's Emerald's on
Artemis reads: A music
box for Emerald Weber
(born 18 June, 2010) on
Morgan Black's harp
Artemis. The title of
this 2010 composition is
a bit cryptic, but
Artemis is the given name
of harpist Morgan Black's
instrument. The music is
both out-and-out tender
and exuberant, clearly
celebrating the birth of
Emerald, the first
daughter of one of Pann's
dear childhood friends.
For advanced
harpists.________________
_______________________Te
xt on the scanned back
cover:Composer/pianist
Carter Pann (2016
Pulitzer Prize Finalist
in Music) has written for
and worked with musicians
around the world,
garnering performances by
ensembles such as the
London Symphony and City
of Birmingham Symphony,
the Tchaikovsky Symphony
in Moscow, many radio
symphonies around Europe,
the Seattle Symphony,
National Repertory
Orchestra, the youth
orchestras of New York
and Chicago, and
countless wind
ensembles.He has written
for Richard Stoltzman,
the Antares Ensemble, the
Capitol Saxophone
Quartet, the West Coast
Wind Quintet, the River
Oaks Chamber Ensemble,
and many concert
pianists. His String
Quartet No. 2
“Operas†was
commissioned by the
Takács Quartet. Pann
has been awarded a
Charles Ives Fellowship,
a Masterprize seat in
London, and many ASCAP
awards over the years.
His numerous CDs
encompass solo, vocal,
chamber, orchestral, and
wind music, and have
received two Grammy
nominations. He currently
teaches at the University
of Colorado in
Boulder.
For
String Orchestra.
Composed by Narong
Prangcharoen. Large
Score. 12 pages. Duration
6 minutes. Theodore
Presser Company
#416-41543L. Published by
Theodore Presser Company
(PR.41641543L).
UPC:
680160632343.
Tears
of Dust is composed in
memory of Princess
Galyani Vadhana who
passed away on 2 January
2008. It was a great lost
for Thailand as well as
the music society for the
entire country. Her Royal
Highness was interested
in all types of music and
drama, especially
classical music. After
she passed away, there
was a mourning period of
100 days and the whole
nation would wear black
for 15 days. Tear of Dust
is commissioned by the
Bangkok Symphony
Orchestra for the
memorial concert. She was
the patron of the and a
great supporter of the
Bangkok Symphony
Orchestra. Her presence
on the classical music
scene was ubiquitous. The
loss of Princess Galyani
is greatly impact to the
Classical Music in
Thailand. It is a
metaphor to compare the
people with the dust
because dust came from
many various sources but
sharing the same element
as a dry object. In this
case even a dry smallest
dust cries for the lost
of Her Royal
Highness. Tears of
Dust is composed in
memory of Princess
Galyani Vadhana who
passed away on 2 January
2008. It was a great lost
for Thailand as well as
the music society for the
entire country. Her Royal
Highness was interested
in all types of music and
drama, especially
classical music. After
she passed away, there
was a mourning period of
100 days and the whole
nation would wear black
for 15 days. Tear of Dust
is commissioned by the
Bangkok Symphony
Orchestra for the
memorial concert. She was
the patron of theand a
great supporter of the
Bangkok Symphony
Orchestra. Her presence
on the classical music
scene was ubiquitous. The
loss of Princess Galyani
is greatly impact to the
Classical Music in
Thailand. It is a
metaphor to compare the
people with the dust
because dust came from
many various sources but
sharing the same element
as a dry object. In this
case even a dry smallest
dust cries for the lost
of Her Royal
Highness.
For
String Orchestra.
Composed by Narong
Prangcharoen. Full score.
11 pages. Duration 6
minutes. Theodore Presser
Company #416-41543.
Published by Theodore
Presser Company
(PR.416415430).
UPC:
680160632336.
Tears
of Dust is composed in
memory of Princess
Galyani Vadhana who
passed away on 2 January
2008. It was a great lost
for Thailand as well as
the music society for the
entire country. Her Royal
Highness was interested
in all types of music and
drama, especially
classical music. After
she passed away, there
was a mourning period of
100 days and the whole
nation would wear black
for 15 days. Tear of Dust
is commissioned by the
Bangkok Symphony
Orchestra for the
memorial concert. She was
the patron of the and a
great supporter of the
Bangkok Symphony
Orchestra. Her presence
on the classical music
scene was ubiquitous. The
loss of Princess Galyani
is greatly impact to the
Classical Music in
Thailand. It is a
metaphor to compare the
people with the dust
because dust came from
many various sources but
sharing the same element
as a dry object. In this
case even a dry smallest
dust cries for the lost
of Her Royal
Highness. Tears of
Dust is composed in
memory of Princess
Galyani Vadhana who
passed away on 2 January
2008. It was a great lost
for Thailand as well as
the music society for the
entire country. Her Royal
Highness was interested
in all types of music and
drama, especially
classical music. After
she passed away, there
was a mourning period of
100 days and the whole
nation would wear black
for 15 days. Tear of Dust
is commissioned by the
Bangkok Symphony
Orchestra for the
memorial concert. She was
the patron of theand a
great supporter of the
Bangkok Symphony
Orchestra. Her presence
on the classical music
scene was ubiquitous. The
loss of Princess Galyani
is greatly impact to the
Classical Music in
Thailand. It is a
metaphor to compare the
people with the dust
because dust came from
many various sources but
sharing the same element
as a dry object. In this
case even a dry smallest
dust cries for the lost
of Her Royal
Highness.
Orchestra 3 Bassoons, 3 Clarinets in A (3rd also clarinet piccolo in Eb), 3 Oboe...(+)
Orchestra 3 Bassoons, 3
Clarinets in A (3rd also
clarinet piccolo in Eb),
3 Oboes (3rd also English
horn, 3 Trom, 3 Trumpets
in C, 4 Flutes (3rd and
4th also 2nd and 1st
piccolos, 6 Horns in F,
Bass Clarinet in Bb,
Contrabassoon, Trumpet
Piccolo in D,
respectively)
SKU:
PR.466000010
Composed
by Easley Blackwood. This
edition: Small Score.
Contemporary. Full score.
With Standard notation.
Opus 3. 124 pages.
Duration 29 minutes.
Theodore Presser Company
#466-00001. Published by
Theodore Presser Company
(PR.466000010).
UPC:
680160637164. 9x12
inches.
If the 2nd
flute has no low
B-natural, C-natural be
played instead. (3rd
movement measure 235 page
91) The part for the bass
clarinet is written
entirely in the treble
clef a major ninth above
the actual pitch. Horn
parts written in the bass
clef sound a fourth
higher, never a fifth
lower. If the special
percussion instruments
are not availalbe, the
following substitutions
may be made: The
E-natural for the antique
cymbals may be played on
a glockenspiel (not the
celesta); and The Bb for
the small timpano on a
side drum with snares
silenced, struck with a
soft felt stick. Several
contrabasses must be
provided with means for
producing the extra low
tones.
Poem Flûte traversière et Piano Theodore Presser Co.
Chamber Music flute, piano SKU: PR.114416460 For Flute and Piano. ...(+)
Chamber Music flute,
piano
SKU:
PR.114416460
For
Flute and Piano.
Composed by Thaddeus
Kozuch. Contemporary. Set
of Score and Parts. With
Standard notation.
Composed 1937. 4+1 pages.
Duration 3 minutes.
Theodore Presser Company
#114-41646. Published by
Theodore Presser Company
(PR.114416460).
ISBN
9781598067811. UPC:
680160620616. 9x12
inches.
POEM for
Flute and
PianoKozuch’s POEM
is a plaintive elegy,
perfect for memorial
concerts, in religious
services, or as a lyric
interlude in recital.
Although composed with
piano accompaniment, the
music is also very
effective in performance
with organ. Thaddeus
Kozuch (1913-1991) was a
Chicago-based pianist,
composer, and professor
at DePaul University and
Northwestern University.
His beautiful POEM was
composed originally for
violin and piano in 1937
for his wife-to-be,
Jacqueline Frye. He
revised POEM for flute
and piano in 1988 but the
work was discovered only
recently in a piano bench
by the composer’s
daughter, flutist Ann
Fairbanks.Although the
final pencil manuscript
is musically complete, it
lacks dynamics, and this
publication presents the
music as the composer
left it.The following
performance suggestions
are provided by Ann
Fairbanks:Many nuances of
the work may be left to
the discretion of the
performer. There are
quite a few notes that
may be slurred, such as
sets of eighth notes or
triplet-eighths; if notes
are articulated as
written, the tonguing
should be legato.Dynamics
for both flute and piano
could be as follows:
begin the work p, then
crescendo to f in bars
6-7. Decrescendo in 10-11
to a p in bar 12. The
most intense section
(bars 16-32) should be
played with energy and
full sonority, including
a crescendo in 26 to fin
27. The conclusion,
beginning at bar 42,
should be played p, with
the last measures
performed quietly.
String quartet String Quartet SKU: PR.11440309A Composed by Easley Blackw...(+)
String quartet String
Quartet
SKU:
PR.11440309A
Composed
by Easley Blackwood. Set
of parts. With Standard
notation. Opus 4. 64
pages. Duration 15
minutes. Theodore Presser
Company #114-40309A.
Published by Theodore
Presser Company
(PR.11440309A).
Orchestra 3 Bassoons, 3 Clarinets in A (3rd also clarinet piccolo in Eb), 3 Oboe...(+)
Orchestra 3 Bassoons, 3
Clarinets in A (3rd also
clarinet piccolo in Eb),
3 Oboes (3rd also English
horn, 3 Trom, 3 Trumpets
in C, 4 Flutes (3rd and
4th also 2nd and 1st
piccolos, 6 Horns in F,
Bass Clarinet in Bb,
Contrabassoon, Trumpet
Piccolo in D,
respectively)
SKU:
PR.46600001L
Composed
by Easley Blackwood. This
edition: Large Score.
Contemporary. Large
Score. With Standard
notation. Opus 3.
Duration 29 minutes.
Theodore Presser Company
#466-00001L. Published by
Theodore Presser Company
(PR.46600001L).
UPC:
680160637171. 11x17
inches.
If the 2nd
flute has no low
B-natural, C-natural be
played instead. (3rd
movement measure 235 page
91) The part for the bass
clarinet is written
entirely in the treble
clef a major ninth above
the actual pitch. Horn
parts written in the bass
clef sound a fourth
higher, never a fifth
lower. If the special
percussion instruments
are not availalbe, the
following substitutions
may be made: The
E-natural for the antique
cymbals may be played on
a glockenspiel (not the
celesta); and The Bb for
the small timpano on a
side drum with snares
silenced, struck with a
soft felt stick. Several
contrabasses must be
provided with means for
producing the extra low
tones.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Chamber Music Piano SKU: PR.140401310 Composed by Nora Holt. Edited by La...(+)
Chamber Music Piano
SKU: PR.140401310
Composed by Nora Holt.
Edited by Lara Downes.
Sws. Score. 8 pages.
Duration 2 minutes.
Theodore Presser Company
#140-40131. Published by
Theodore Presser Company
(PR.140401310).
ISBN
9781491134153. UPC:
680160684250. 9 x 12
inches. Key: G
major.
NORA’
S DANCE is a
jazz-influenced rag from
1921, and among the only
surviving compositions by
Nora Douglas Holt. A
charming and exciting
work rejuvenated by Lara
Downes’ 2021
recording for the Rising
Sun label, the rag is
both a fun 2 minutes for
pianists and audiences,
and also a fascinating
time capsule. Composed
several years after Scott
Joplin’s death,
and several years before
the Charleston pervaded
popular music,
NORA’S DANCE
blossoms with the energy
and jazz harmony starting
to emerge as The Roaring
20’s, using
ragtime and stride as the
seed for pianistic
style. My own life in
music has been driven by
a quest to find strong
female role models,
trails to follow,
shoulders to stand on. In
Nora Douglas Holt, I find
an inspiring example of
creativity, independence,
and resilience –
with a dash of
troublemaking. She was a
free spirit, a force of
nature, and she lived a
fascinating and eventful
life on her own terms.
She reinvented herself
through five marriages
and at least as many
careers. From her
beginnings at the piano
at age four, she explored
many avenues of musical
expression –
performing, composing,
music journalism,
broadcasting, teaching
– all with
inventiveness, style, and
zeal.She made the most of
the Roaring ’20s,
as an artist, socialite,
jetsetter, muse, and
patroness of the Harlem
Renaissance. In 1921 she
started an independent
arts journal called
“Music and
Poetry,†where the
charming piano solo
Nora’s Dance was
first published. I think
the piece captures
beautifully, in a little
under 2 minutes, the
energy and excitement of
those heady years.In
1926, Nora left New York
to travel the world,
performing in nightclubs
throughout Europe and
Asia. She put her
belongings in storage
before she left, and when
she came back she
discovered that many of
her things had been
stolen, including more
than 200 of her musical
compositions. She never
composed again.When the
Depression hit, she moved
out to Los Angeles, where
she studied music
education at USC, taught
music in the LA public
schools, and opened her
own beauty salon. She
returned to New York in
the ’40s and
worked as a music critic
for several major
newspapers, then launched
yet another career, this
time in broadcasting. Her
popular radio concert
series “Nora
Holt’s Concert
Showcase†broadcast
to New York’s
classical music audience,
with a focus on Black
composers and
performers.Ahead of her
time, larger than life,
full of ideas…. I
am so pleased to
introduce you to the
feisty and free spirited
Nora Douglas Holt!
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone
SKU:
PR.114419980
Composed
by Stacy Garrop. Sws. Set
of Score and Parts.
32+16+16+16+16+16 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998. Published by
Theodore Presser Company
(PR.114419980).
UPC:
680160681723. 9 x 12
inches.
The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G.
Choral Mezzo-soprano voice, SATB chorus SKU: PR.312418640 Composed by Ado...(+)
Choral Mezzo-soprano
voice, SATB chorus
SKU: PR.312418640
Composed by Adolphus
Hailstork. -. Goin' Home,
Songs for sister Lisa.
Premiere: Portsmouth, VA.
Choral. Performance
Score. With Standard
notation. Composed 2010.
8 pages. Duration 5
minutes. Theodore Presser
Company #312-41864.
Published by Theodore
Presser Company
(PR.312418640).
ISBN
9781598064100. UPC:
680160605804. Octavo
inches. English. Text:
Spiritual.
Spiritual.
From the
blog of Opera Roanoke:
The four spirituals are
densely packed portraits
resonant with the black
church tradition...
Weaving together a fabric
of history and presence,
pain and struggle, exile
and homecoming,
Goin’ Home is an
engaging musical canvas
whose complex palette is
challenging as it is
rewarding. It is a
resounding affirmation of
a life whose impact
cannot be measured, and
continues to be
felt..
Chamber Music Piano SKU: PR.140401340 Sketches for Piano. Composed...(+)
Chamber Music Piano
SKU: PR.140401340
Sketches for
Piano. Composed by
Harry T. Burleigh. Edited
by Lara Downes. 16 pages.
Duration 18 minutes.
Theodore Presser Company
#140-40134. Published by
Theodore Presser Company
(PR.140401340).
ISBN
9781491134450. UPC:
680160684953.
Best
known for his settings of
spirituals and influence
on Dvorák, Henry T.
Burleigh was a celebrated
baritone, and a prolific
composer of original
works. FROM THE SOUTHLAND
is a suite of six
atmospheric scenes of the
American south, inspired
by Black musical and
cultural traditions. FROM
THE SOUTHLAND is within
reach of intermediate
pianists and artistically
suited for professional
recitals. In 1835,
Henry T.
Burleigh’s
maternal grandfather
purchased his own release
from slavery for the sum
of $50, and traveled
north out of Maryland to
begin a new life as a
free man. He established
his family in Ithaca, NY,
and then moved to the
bustling lakefront city
of Erie, PA, where three
decades later his
grandson Henry would be
born and raised.For
Burleigh, the
“Southlandâ€
that inspired this
collection of piano
sketches was a distant
place that could not have
been more different from
the physical world he
knew, up there in the
northern snowbelt. And
yet these southern
landscapes and vignettes
must have been intensely
present in his
consciousness, absorbed
through the stories and
songs he first learned at
his grandfather’s
knee.The music of the
South – the
spirituals and work songs
he heard as a child
–would travel with
Burleigh throughout his
long and illustrious
musical life. Even as he
progressed through his
early classical training,
his career as a baritone
soloist in Erie’s
churches and synagogue,
his move to New York to
study at the National
Conservatory of Music,
and his rise to national
prominence as a concert
soloist, these ancestral
melodies stayed firmly
centered in his musical
identity.When he wrote
From the Southland, his
only composition for solo
piano, Burleigh was just
beginning his career as a
composer. The art songs
that would establish him
as one of
America’s best
known composers in the
genre were still to come.
And so were his iconic
arrangements of
spirituals that would
bring the songs of
slavery onto concert
stages around the world,
transformed into timeless
and uniquely American
music.These little piano
sketches bring together
all the things that made
Burleigh the musician he
was – the lush,
late-romantic style of
his time; a broad vision
for American music; and a
profound respect for his
heritage, a memory of the
world his grandfather
left behind, and a love
of the music he brought
with him.
Composed by Adolphus
Hailstork. -. Goin' Home,
Songs for Sister Lisa.
Premiere: Portsmouth, VA.
Choral. Performance
Score. With Standard
notation. Composed 2010.
8 pages. Duration 2:15.
Theodore Presser Company
#312-41866. Published by
Theodore Presser Company
(PR.312418660).
ISBN
9781598064124. UPC:
680160605828. Octavo
inches. English. Text:
Spiritual.
Spiritual.
From the
blog of Opera Roanoke:
The four spirituals are
densely packed portraits
resonant with the black
church tradition...
Weaving together a fabric
of history and presence,
pain and struggle, exile
and homecoming,
Goin’ Home is an
engaging musical canvas
whose complex palette is
challenging as it is
rewarding.
Composed
by Lowell Liebermann.
Full score. Duration 15
minutes. Theodore Presser
Company #116-41139S.
Published by Theodore
Presser Company
(PR.11641139S).
UPC:
680160682119.
Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness.
Composed
by Adolphus Hailstork. -.
Goin' Home, Songs for
sister Lisa. Premiere:
Portsmouth, VA. Choral.
Performance Score. With
Standard notation.
Composed 2010. 8 pages.
Duration 2:45. Theodore
Presser Company
#312-41865. Published by
Theodore Presser Company
(PR.312418650).
ISBN
9781598064117. UPC:
680160605811. Octavo
inches. English. Text:
Spiritual.
Spiritual.
From the
blog of Opera Roanoke:
The four spirituals are
densely packed portraits
resonant with the black
church tradition...
Weaving together a fabric
of history and presence,
pain and struggle, exile
and homecoming,
Goin’ Home is an
engaging musical canvas
whose complex palette is
challenging as it is
rewarding.
Choral Mezzo-soprano voice, SATB chorus SKU: PR.312418670 Composed by Ado...(+)
Choral Mezzo-soprano
voice, SATB chorus
SKU: PR.312418670
Composed by Adolphus
Hailstork. -. Goin' Home,
Songs for Sister Lisa.
Premiere: Portsmouth, VA.
Choral. Performance
Score. With Standard
notation. Composed 2010.
12 pages. Duration 3:30.
Theodore Presser Company
#312-41867. Published by
Theodore Presser Company
(PR.312418670).
ISBN
9781598064131. UPC:
680160605835. Octavo
inches. English. Text:
Spiritual.
Spiritual.
From the
blog of Opera Roanoke:
The four spirituals are
densely packed portraits
resonant with the black
church tradition...
Weaving together a fabric
of history and presence,
pain and struggle, exile
and homecoming,
Goin’ Home is an
engaging musical canvas
whose complex palette is
challenging as it is
rewarding.
For Narrator and
Orchestra. Composed
by Daniel Dorff. Sws.
First performance of
orchestra version:
Carolyn Black-Sotir
narrator, Sheldon Bair
conducting the
Susquehanna Symphony
Orchestra. Contemporary.
Full score. With Standard
notation. Composed
Sep-00. 56 pages.
Duration 8 minutes.
Theodore Presser Company
#416-41396. Published by
Theodore Presser Company
(PR.416413960).
ISBN
9781598068160. UPC:
680160595112. 9x12
inches. Key: C
major.
A favorite
at family concerts from
community ensembles
through the Philadelphia
Orchestra, Dorff's
Goldilocks uses the
familiar story to engage
listeners young and old,
while the plot and
characters illustrate
variations on a theme,
and contrasts between
low/medium/high. The
recording on Bridge
Records has drawn rave
reviews for exciting the
next generation of
concertgoers.