(Student Version) Written by Andrew Surmani, Karen Farnum Surmani, Morton Manus....(+)
(Student Version) Written
by Andrew Surmani, Karen
Farnum Surmani, Morton
Manus. Includes CD-ROM
(Windows and Mac).
General Theory. 9x12
inches. Published by
Alfred Publishing.
Brass Band - Grade 6 SKU: BT.DHP-1196183-130 Composed by Paul Raphael. Co...(+)
Brass Band - Grade 6
SKU:
BT.DHP-1196183-130
Composed by Paul Raphael.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2019. 73 pages. De Haske
Publications #DHP
1196183-130. Published by
De Haske Publications
(BT.DHP-1196183-130).
Brass Band - Grade 6 SKU: BT.DHP-1196183-030 Composed by Paul Raphael. Co...(+)
Brass Band - Grade 6
SKU:
BT.DHP-1196183-030
Composed by Paul Raphael.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Set (Score & Parts).
Composed 2019. De Haske
Publications #DHP
1196183-030. Published by
De Haske Publications
(BT.DHP-1196183-030).
117 Fun, Exciting, Singable Songs for Younger Children. Edited by Thomas Fettke,...(+)
117 Fun, Exciting,
Singable Songs for
Younger Children. Edited
by Thomas Fettke, Ken
Bible. Arranged by Thomas
Fettke, Ken Bible.
(unison). This edition:
MD492. Suggested Use: For
children pre-school to
third grade. Use at
Sunday school, children's
choir, children's church,
VBS, camps, Christian
schools, and home.
Lillenas Publications.
Great resource for
working with younger
kids. Sacred.
Book/Split-Channel
Accompaniment Cassette
Combo. 144 pages.
Published by Lillenas.
Telemann for Two 2 Flûtes traversières (duo) Theodore Presser Co.
Chamber Music 2 flutes SKU: PR.114418600 Volume I, Fantasias 1-6. ...(+)
Chamber Music 2 flutes
SKU: PR.114418600
Volume I, Fantasias
1-6. Composed by
Georg Philipp Telemann.
Arranged by Sharon
Sparrow Jeffery Zook. Set
of performance scores.
56+56 pages. Duration 20
minutes. Theodore Presser
Company #114-41860.
Published by Theodore
Presser Company
(PR.114418600).
ISBN
9781491111543. UPC:
680160642656.
Telem
ann for Two Volume I,
Fantasias 1-6 arranged
for Two FlutesWhat could
be more delightful than
playing Telemann duets,
or playing the Telemann
Fantasias? Sharon Sparrow
and Jeffery Zook have
created a remarkable set
of duet adaptations of
the Fantasias,sounding as
if Telemann himself had
composed them as two-part
inventions. The original
Telemann works are shared
between the two players,
mixed with counterpoint
to enhance the authentic
solo works. The result is
equally suitable for
formal recitals and
recreational duet
playing! The present
publication includes two
performance scores of
their settings of
Fantasias 1-6, with a
Volume II to include
Fantasias
7-12.____________________
__________________Text
from the scanned back
cover:SHARON SPARROW is
Assistant Principal Flute
of the Detroit Symphony
Orchestra. She began
musical studies on piano
at age four, but it was
the flute that led her to
the Juilliard School for
a Bachelor degree with
Julius Baker. She
received her
Master’s degree
with Thomas Nyfenger at
the Mannes College of
Music. Sharon’s
professional career began
in the Memphis Symphony,
followed by tenured
positions in the Fort
Wayne Philharmonic and
Detroit Symphony, and
guest positions in the
Hong Kong Philharmonic,
Baltimore, Chicago, and
Pittsburgh Symphonies. In
2016, Presser published
her successful audition
training book, 6 Weeks to
Finals, and she is a much
sought after coach for
audition candidates
across the country, as
well as a frequent Master
Class clinician at major
schools including Boston
University and Peabody
Conservatory.JEFFERY ZOOK
has been a member of the
Detroit Symphony
since1992. His formal
musical studies began at
Interlochen and continued
at University of Michigan
and the Royal Academy of
Music in London. His
teachers have included
William Bennett and
Trevor Wye. A prize
winner in the NFA Young
Artists Competition, Mr.
Zook made his solo debut
with the Detroit Symphony
as a senior in high
school, and has since
performed all the Vivaldi
concerti with them. He
has recorded extensively
for MusicMinus One and
performed frequently at
NFA conventions,
including the concerto
gala in 2017. Mr. Zook
has served on the faculty
at University of Michigan
and Oakland University.
In 2002 Zook and Sharon
Sparrow founded the
Detroit Flute Connection,
a series of masterclasses
for flutists.
Composed
by Hector Berlioz. De
Haske Concert Band.
Transcription. Set (Score
& Parts). Composed 2008.
De Haske Publications
#1084336010. Published by
De Haske Publications
(HL.44010867).
Hector
Berlioz (1803-1869)
schreef de ouverture
Le Corsaire (De
zeerover) in Nice, in het
jaar 1844. De eerste
uitvoering vond plaats
onder de titel La tour
de Nice (De toren van
Nice). Pas later kreeg
het werk de naamLe
Corsaire,
waarschijnlijk naar een
gedicht van Lord Byron,
voor wie Berlioz veel
bewondering had. De
originaliteit van deze
ouverture wordt alom
geprezen. De muziek is
van een energieke
levendigheid die
aanstekelijk werkt.Niet
voor niets is Le
Corsaire nog altijd
een van de populairste
orkestwerken van
Berlioz.
Hector
Berlioz schrieb diese
Ouvertüre mit dem
ursprünglichen
Titel La Tour de
Nice (Der Turm von
Nizza) im Jahre 1844 in
selbiger Stadt und
benannte sie erst spater
um, vermutlich nach einem
Gedicht von Lord Byron,
den er sehr verehrte. Die
Ouvertüre wurde von
Anfang an für ihre
Originalitat und
Lebendigkeit gelobt. So
ist es kein Wunder, dass
Le Corsaire, das
hier in einer
Transkription des Tohru
Takahashi vorliegt, auch
heute noch zu den
beliebtesten Werken von
Berlioz
gehort.
Berlioz ne
revele aucun talent
musical particulier dans
son enfance ; ses parents
ne sont pas musiciens.
Vers l'age de treize ans,
il apprend a jouer de la
flute a bec et de la
guitare et prend des
cours de chant. En 1821,
il s'installe a Paris et
marche sur les pas de son
pere en suivant un temps
les cours de la Faculte
de Medecine. Mais au bout
d'un an, et au grand
desespoir de ses parents,
il abandonne ses etudes
et entre au Conservatoire
de Paris. Sa passion pour
l'actrice irlandaise
Harriet Smithson, qu'il
epousera quelques annees
plus tard (un mariage
malheureux), a largement
influence sa vie et sa
musique. Lorsqu'il
remporte le Prix de Rome
en 1830, Berlioz avait
dejacompose quelques
œuvres majeures dont
la Symphonie
Fantastique. Berlioz
devient la figure
essentielle du romantisme
francais. Ses œuvres
sont dominees par ses
idees novatrices.La
premiere version de
l'ouverture Le
Corsaire remonte a un
sejour que Berlioz fit a
Nice en 1844.
L'œuvre fut donnee
en creation sous le titre
La Tour de Nice.
Par la suite, Berlioz
remania sa composition et
lui donnera son titre
definitif Le
Corsaire. La
reference au roman
poetique de Lord Byron a
qui le compositeur vouait
une grande admiration,
reste une supposition qui
ne fait pas
l'unanimite.Cette
ouverture fut
particulierement saluee
pour son originalite. La
musique deborde d'energie
et les effets sont
fantastiques. Il n'est
donc pas surprenant de
constater que Le
Corsaire est une des
œuvres orchestrales
les plus connues et les
plus jouees de
Berlioz.
SATB (English Language Edition). Composed by Franz Joseph Haydn (1732-1809). Edi...(+)
SATB (English Language
Edition). Composed by
Franz Joseph Haydn
(1732-1809). Edited by
Robert Shaw and Alice
Parker. Choral (Sacred);
Choral Worship Cantata;
Larger Works;
Masterworks; Performance
Music Ensemble; Worship
Resources. Lawson-Gould.
Classical; Masterwork;
Sacred. Book. 160 pages.
Alfred Music #00-LG51595.
Published by Alfred Music
From Terra Nostra.
Composed by Stacy Garrop.
Full score. Duration
3:15. Theodore Presser
Company #312-41902S.
Published by Theodore
Presser Company
(PR.31241902S).
UPC:
680160690589.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
High Flight Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. C...(+)
Choral SATB Choir and
Piano
SKU:
PR.312419020
From
Terra Nostra.
Composed by Stacy Garrop.
Sws. Performance Score.
12 pages. Duration 3:15.
Theodore Presser Company
#312-41902. Published by
Theodore Presser Company
(PR.312419020).
ISBN
9781491131862. UPC:
680160680474. 6.875 x
10.5 inches.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
From Terra Nostra.
Composed by Stacy Garrop.
Set of Score and Parts.
Duration 3:15. Theodore
Presser Company
#312-41902A. Published by
Theodore Presser Company
(PR.31241902A).
UPC:
680160690510.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
(For 5 usersâ??$40 each additional user). By Andrew Surmani, Karen Farnum Surma...(+)
(For 5 usersâ??$40 each
additional user). By
Andrew Surmani, Karen
Farnum Surmani, and
Morton Manus. Reference
Textbooks; Software;
Textbook - General;
Theory. Essentials of
Music Theory. Published
by Alfred Music
Publishing
(The Easiest Guitar Method Ever!). By Ron Manus and L. C. Harnsberger. For Guita...(+)
(The Easiest Guitar
Method Ever!). By Ron
Manus and L. C.
Harnsberger. For Guitar.
This edition: Books, CDs
and DVD. Book; DVD;
Enhanced CD; Guitar
Method or Supplement;
Method/Instruction. Kid's
Guitar Course. Children.
Beginner. Published by
Alfred Music
Composed by Patricia Mock and Jon Paige. Arranged by Patti Drennan. Shawnee Sa...(+)
Composed by Patricia Mock
and
Jon Paige. Arranged by
Patti
Drennan. Shawnee Sacred.
General Worship, Sacred.
Octavo. 12 pages.
Published
by Shawnee Press
SKU: AP.34630 Volume 1. For 5 users---$20 each additional user<...(+)
SKU: AP.34630
Volume 1. For 5
users---$20 each
additional user.
Composed by Andrew
Surmani, Karen Farnum
Surmani, and Morton
Manus. NAMM Best in Show;
Parents' Choice;
Reference Textbooks;
Textbook - General;
Theory; iParenting Media
Award. Essentials of
Music Theory. Software.
Alfred Music #00-34630.
Published by Alfred Music
(AP.34630).
ISBN
9780739068649. UPC:
038081386393.
English.
The
award-winning theory
software, Alfred's
Essentials of Music
Theory, is now available
in a new and updated
Version 3! This software
features a fresh new
interface and more
activities to teach
students everything they
need to know about music
theory. New features
for the Network Version
include greater options
for educators to
customize lessons, the
audio, text and images
used for lessons, the
number and style of
questions on the
customized tests, and
even the contents of the
terms glossary. It also
offers enhanced user,
group and profile
maintenance options for
educators to organize and
track multiple students'
progress, as well as
advanced tools for user
permissions and network
setup.
The
Network Version of the
software allows for the
unlimited creation of
student records and the
printing of individual
scores, printing of class
lists, importing and
exporting of student
records in batches, and
the setting of a minimum
grade requirement that
students must meet to
advance to the next
level. Student scores are
recorded automatically to
the network, allowing the
most efficient tracking
of students' progress.
New features for
the Network Version
include greater options
for educators to
customize lessons, the
audio, text and images
used for lessons, the
number and style of
questions on the
customized tests, and
even the contents of the
terms glossary. It also
offers enhanced user,
group and profile
maintenance options for
educators to organize and
track multiple students'
progress, as well as
advanced tools for user
permissions and network
setup.
The
Network Version of the
software allows for the
unlimited creation of
student records and the
printing of individual
scores, printing of class
lists, importing and
exporting of student
records in batches, and
the setting of a minimum
grade requirement that
students must meet to
advance to the next
level. Student scores are
recorded automatically to
the network, allowing the
most efficient.
Railways 1846 Chorale TTBB TTBB, Piano Theodore Presser Co.
Choral TTBB choir, piano SKU: PR.312419270 From Terra Nostra. Comp...(+)
Choral TTBB choir, piano
SKU: PR.312419270
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2
minutes. Theodore Presser
Company #312-41927.
Published by Theodore
Presser Company
(PR.312419270).
ISBN
9781491137918. UPC:
680160692606. English.
Charles
Mackay.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Choral SATB choir, piano SKU: PR.312419280 From Terra Nostra. Comp...(+)
Choral SATB choir, piano
SKU: PR.312419280
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 12
pages. Duration 5:30.
Theodore Presser Company
#312-41928. Published by
Theodore Presser Company
(PR.312419280).
ISBN
9781491137925. UPC:
680160692613.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
101 Popular "Three Chord" Easy Favorites for Piano arranged by Jonathon Robbins....(+)
101 Popular "Three Chord"
Easy Favorites for Piano
arranged by Jonathon
Robbins. For easy piano.
This edition: Paperback.
Collection. Easy Favorite
series. Popular.
Collection. Text
Language: English. 176
pages. Published by
Santorella Publications
Essentials of Music Theory Software, Version 2.0. (Complete Educator Version). B...(+)
Essentials of Music
Theory Software, Version
2.0. (Complete Educator
Version). By Andrew
Surmani and Morton Manus.
Reference Textbooks;
Textbook - General;
Theory. Essentials of
Music Theory. Software.
Published by Alfred Music
Publishing